TT 305 
.K5 
Copy 1 




The 
Painter's Estimator 

and Business Book 



A, ASHMUN KELLY 



Price - One 



The 
Painter's Estimator 

AND BUSINESS BOOK 

How to Measure and Estimate On All Kinds of 

Structural Painting, Interior Decoration, Kalso- 

mining, Paper Hanging, Glazing, Hard 

Wood Finishing and Sign Painting 

WITH PRICE LISTS FOR ALL WORK 
INCLUDED IN THE ABOVE 

THE PAINTER'S BUSINESS BOOK ; or, How to Manage the 
Painting Bus ness Successfully; Timely Suggestions, Business Forms, 
Book-keeping, Etc. 

CALCULATED FOR THE UNITED STATES AND CANADA 

BY 

A. ASHMUN KELLY 

Author of THE EXPERT SIGN PAiKlTER, and Editor and Pub- 
lisher of THE MASTER PAINTER 

Formerly Head Instructor in Painung, Decorating and Sign Painting at the 
Indianapolis Technical Institute 

PRICE - ONE DOLLAR 



From Press of The Master Painter Publishing Company 

Malvern, Penna., U. S. A. 

19 1 1 






Copyrighted 191 I by A. Ashmun Kelly 






©CIA297996 

//- Ml 7 y 



A 



1 



TABLE OF CONTENTS 

PART I 

Page 

1 he Specifications 5 

Tools for Measuring With 3 

Measuring Exterior Work 9 

Measurements — Exterior 11 

Interior 14 

Comparison of Painters' Prices 19 

The Painters' Price List — Exterior Work 20 

Interior Work 23 

Paper Hangers' Price List 28 

Estimates and Measurements — Papering 32 

Lettering and Sign Painting — Price List 36 

PART H 

Book-keeping 57 

Classified Record of Materials, Wages and Expenses 57 

Filing and Checking Invoices 58 

Keeping Records of Sales 59 

Rendering Bills 59 

The Matter of Credits 60 

Trade Discounts 63 

Fixed Charges 66 

Suggestions on Figuring Costs 70 

Workmen's Time Reports 71 

Estimates and Costs 73 

The Cost Sheet 74 

The Material Sheet 75 

Taking and Filing Orders 76 

The Invoice or Stock Book 78 

An Estimate Form 77 

The Grainer to the Trade 78 

Shop Management 79 

Business Correspondence 84 

Final Observations 86 

Covering Capacities ' 88 




THE SPECIFICATIONS 

HE architect's specifications tell what work 
is to be one,, how it is to be fiinished, and 
usually what kind of materials are to be 
used, often giving some particular brand that 
must be used. These specifications are 
presumed to be very full, indicating exactly all the 
work that the painter is to do, but unfortunately this is 
not always done, and hence a word of caution to read 
carefully what is given in the specifications ,and ask if 
there is anything to do that the plans do not give. For 
instance, there may be storm doors, storm sash, panel 
backs and boxes for inside blinds, hall and window 
seats, drawers, shelves, dressers, bath room and store 
room accessories, and other things, all of which may 
be to do, and yet not a hint of them in the specifica- 
tions. Again, there may be mantels, which are to be 
put up by the owner. This will be stated in the wood- 
workers' specifications, but not in the painters', maybe. 
But when you come to do the work you will find the 
mantels there, and if they have not been finished at the 
factory, you will be required to finish them, and no pay 
for it, either. The owner may be generous enough to 
pay you for this extra work, but this is not at all cer- 
tain. Better be on the safe side, and ask and ascertain 
about it. Look over all the specifications, those for 
the other workmen. The plasterers' work will be the 
walls and ceilings, and his measurements will be useful 
to you. 

Again ascertain all about the character of the work 
and its manner of finish, for, as you well enough know, 



6 THE PAINTER'S ESTIMATOR 

there are various ways of finishing woodwork, and not 
knowing what kind of finish is required may mean 
considerable loss to you. You of course understand 
all about wood finishing. By estimating on the wrong 
kind of rubbing or polishing it is easy to lose money. 
Find out whether you are to furnish the glass or not, or 
are only to set and glaze it. Ascertain exactly what 
kinds of materials you are to use, how man}/ coats, see 
if the woodwork is to be primed before or after being 
put up. Are the picture mouldings to be painted? 
Are they to be given the last coat of paint before or 
after the paper is hung? Is there to be any painting 
or whitewashing in the cellar ? What about the radi- 
ators? Who is to finish them? Are any walls to be 
painted? If so, how many coats, and what kind of 
paint and finish? Are any walls and ceilings to be 
kalsomined or decorated in water colors? What is the 
character of the decorations? What about the cor- 
nices, if any? Are they to be done in oil or water 
color? How many tints or colors for same? Are 
the shingles to be stained ? If so, are they to be dip- 
ped or coated on the roof? Or are they to be both 
dipped and brush coated on the roof? What brand of 
stain is to be used? How many colors? How many 
coats of stain are to be given ? Are any to be blended ? 
What brand of varnish is to be used ? 

These hints should be sufficient to put you on your 
guard against being made an innocent victim of the 
architect's omitting to state clearly, precisely, and fully 
everything the painter will be required to do. Then, 
take into consideration the character of the work in 
other respects, such as the surfaces that are to be 
coated, especially noting what preparatory work is tc 
be done, for this may vary greatly. It makes a great 
difference whether the woodwork or the wallwork, or 



THE PAINTER'S ESTIMATOR 7 

any other surface which you are to treat, has been 
carefully prepared or not. A badly prepared surface 
will, of course, require more time in fitting it properly 
for coating than one that is in more or less perfect 
condition. And a poor surface will also require more 
material. Xote how much knot killing there may be 
to do, also the amount of putty work. Then there is 
the matter of getting at the work, to do it. If the 
work has to be reached from more or less extensive 
staging, or scaffolding, it will involve greater expense 
than ordinary work, and must be carefully estimated 
for time putting up staging or scaffolding and material 
required. Then do not forget that it must all be taken 
down, which adds to the expense. If you will be al- 
lowed to use scaffolding that other workmen have used, 
note that also. On church and other public building 
work there is required considerable scaffolding, and all 
this ought to be made a separate item. Again, a 
man will not be able to do as much work at a high 
altitude as one nearer the earth, owing mainly to the 
time taken to get to and from the work, and to get 
materials. The workman also has to be more careful 
in his movements, to avoid falling, and this lessens his 
working speed. As a rule, all exterior work requires 
more time than the same amount of work inside ; espe- 
cially is this true of roof work, where ladders or other 
staging have to be used. It is very important to con- 
sider these items in making up an estimate. On the 
inside the matter of decorating must be looked into, 
for there may be much or little, depending upon the 
character of the scheme. 

Reading the Plans. — The plans are drawn to a scale, 
by which a fraction of an inch represents a foot, and 
feet and inches are marked respectively thus : A foot ', 
and an inch ". By putting in the wrong marks the 



8 THE PAINTERS ESTIMATOR 

draughtsman may make a costly error for you, hence 
watch this point closely. The plans should show every 
foot of all the work that you are asked to bid on. 



TOOLS FOR MEASURING WITH 

Tape Measure. — Have a tape measure of fifty or one 
hundred feet in length, for work requiring a long one, 
while one of twenty-five feet will do for other parts of 
the job. To reach very high places you can fasten 
together fishing or bamboo poles to the required 
length, and fasten the ring of the tape to the end of the 
jointed pole. Extend this up to wherever you wish to 
start the measuring. A hook on the end of the pole 
will be handy for catching the ring of the tape meas- 
ure. This device is useful for loftv ceilings, or a tall 
gable end, and in any place of height where it is not 
easy of access otherwise. Buy the best tape line, for 
that will be the cheapest in the end. One that has fine 
wire woven in its texture is the best, as preventing 
stretching of the line. A steel tape line will not allow 
of getting into curves, etc., not being flexible enough. 
The two-foot rule you always have, of course, and it is 
useful also. 

The Note Book. — You should carry with you a small 
note book, of convenient size, in which to jot down the 
measurements as you take them, together with any use- 
ful memoranda. This book should be ruled so as to 
give proper space for jotting down the name of parts 
measured, the superficial measurements, with subtrac- 
tions or additions for openings or extras, as the case 
may be, measuring and observing everything carefully 
and jotting all down in the note book. The conver- 
sion of the figures into square feet or yards may be 



THE PAINTER'S ESTIMATOR 9 

done at home, afterwards. Be sure of your figures 
when jotting down, and don't estimate too closely, but 
give ample leeway for your own good, as it is better 
to be a little over rather than under with your figures. 

MEASURING EXTERIOR WORK 

JJ^alls. — All flat surfaces may be placed under this 
head, for purposes of measurment. Multiply the 
height by the width, and add the squares of all open- 
ings, projecting sills and caps and bay windows being 
counted with openings. That is, such openings are 
charged extra. First, the entire surface, including the 
openings, are counted in addition. This will include 
all brickwork, clapboarding, plaster or stucco, etc. 

Cornices and copings. — Plain cornices may be meas- 
ured by multiplying the length by one and one-half 
times the girth. Increase these figures according to 
the height of the building and difficulty of getting at 
the work, and also with regard to the fact of the walls 
being painted or not. Thus, if the building is three 
stories high, multiply length of cornice by three times 
the girth ; for buildings up to six stories multiply by 
four times the girth. For greater heights than these 
use your judgment, based upon the figures here given. 
Where the walls are to be painted too, the rate may be 
lowered, as the scaffolding will do for both. If the 
cornice is bracketed, dentilled or panelled, multiply the 
length by two or three times the girth, or even by 
three or four times, according to the character of the 
work. Use your judgment. If the cornice alone is 
to be done, no wall painting, then you may go as 
much as from four to eight times the girth, according 
to height of the work, and according to whether the 



10 THE PAINTER'S ESTIMATOR 

cornice has dentils or decorations or not. Also, if 
two or more colors are to be applied to the cornice, 
this must be taken into account. For a bracketed 
cornice it is usual to allow one more girth to the regu- 
lar measurement, and if there are dentils also, allow 
two girths. These rules apply also to dormer windows 
and porch cornices, and all similar structures. When 
the work is extra hazardous, or high, or extra difficult 
in any way, allow extra measurement to cover increas- 
ed cost and risk. Allow extra for scaffolding. 

The Measurer. — In some cities the associated master 
painters employ one of their number to do the measur- 
ing for them, and he is paid a certain percentage for 
his work, which is based on the contract price, using 
the following schedule : 

For measuring work up to $ 150 5 per cent. 

500 4 " 

" 1.000 3 " 

" 5,000 2 

" kk over 5,000 2 

It is better for each man to be able to do his own read- 
ing and measuring of plans, because it sometimes hap- 
pens that he will be given the plans by the architect 
with the stipulation that he is to return them the next 
morning, and hence while he can do the work that 
night, it might not be possible to get the official meas- 
urer to do the work for him in such short order. Not 
infrequently you are required to study the plans in the 
architect's office, not being allowed to take them away. 
Have a note book, and jot down your measurements 
very carefully in that. Note size of glass, size of 
doors, windows, and every detail. Begin at some 
point in the plans, and go carefully all through them. 
A square is a space ten by ten feet, or 100 super- 
ficial feet. A square yard contains nine superficial 



THE PAINTERS ESTIMATOR 11 

feet. Measure the work by one or the other of these 
squares, separating the work under different heads, 
according to its character. As you measure off the 
work, note down the quantities under the proper head, 
and when done add up the several columns and point 
off into squares. The work may be classified about as 
follows : 

Inside Work. — I, 2, 3 and 4 coat work, one color. 
Graining and varnishing. 
Zinc work and parti-colors. 
Hardwood filling and finishing. 

And about the same with the outside work, accord- 
ing to its character. 



MEASUREMENTS, EXTERIOR 

Blinds and Shutters. — Rolling slat blinds, multiply 
height by three times the girth. Stationary slat blinds, 
multiply the height by twice the girth Shutters, mul- 
tiply the height by twice the girth. 

Door Frames. — Plain or with transoms, and not 
over six inchs girth, estimate one foot for girth, and 
multiply by the length all around. For all over six 
inches allow double girth. Panelled door frames, allow 
two and one-half times the girth all around. 

Doors. — Batten doors, measure square, and allow an 
inch to girth for each bead or edge of batten. Panel- 
led doors, multiply the length by twice the width. 
Measure all door edges double. 

Windows. — Window frames, allow one foot girth 
on all staff beads, and multiply by the length all 
around. If pulley stiles are to be oiled, double the 
staff bead allowance. Dormer window frames take 



12 THE PAINTERS ESTIMATOR 

the height of the frame and get the girth by taking 
in the part at its greatest girth, across the front, and 
add measurement of openings. Window sash, ordi- 
nary, inside and outside, same method, multiply length 
by one and one-half times the width. Three times the 
width for fancy sash. 

Iron Gratings, Screens, or Bars of Windows or 
Doorways. — Measure superficial surface and multiply 
same by four to six times, according to character of 
work on same. Grill work will have to be estimated 
according to its character, etc., using your best judg- 
ment as to amount of work on same. 

Balustrades. — Turned or ornamental, multiply 
height of a baluster, including top and bottom rail, by 
four, and multiply this by length of rail. Same rule 
for all kinds of ornamental balustrades. For plain, 
square or round balusters take two and one-half times 
height of one side of balustrades, top and lower rail 
added in, multiplied by length of rail. 

Columns. — Plain shaft, multiply the length by one 
and one-half times the girth. Fluted, multiply the 
length by two times the girth, pressing the tape line 
into the flutings. Panelled, multiply length by two 
one one-half times the girth. Capitals, plain, multi- 
ply height by three times the girth. Foliated, multi- 
ply the height by ten times the girth. Base, multiply 
the height by twice the girth at the largest part of base. 

Entabulature. — Same as for cornices, etc., only you 
will add the under and inner side of architrave to the 
girth. 

Lattice Work. — Painting one side only, multiply 
height by length, counting height three times. Paint- 
ed on both sides, multiply height, five times, by length 
of one side. 

Tin Roofs. — Take square measurement, and if to be 



THE PAINTERS ESTIMATOR 13 

scraped, double surface. This for ordinary roofs. If 
difficult to get at or paint, estimate accordingly. 

Ceilings. — Square measurement, and if a wooden 
ceiling, with beaded work, add an inch for each bead. 
Steel ceilings, according to character of design, etc., 
estimate for from double to more plain surface, say up 
to three and one-half times, and still more where the 
side walls are not to be painted. 

Shingles. — Shingle work on towers and other fancy 
features, get height and multiply by greatest girth. 
Dipping shingles, estimate 400 square feet per 1000 
shingles. This assumes a dip of about ten inches. 

Hand Rails, Stairs, Steps or Stringers and Butresses, 
double superficial measurement. 

Floors. — Square measurement. 

Chimneys, Verge Boards, Snow Guards, Crestings, 
and Conductors or Spouts. — Four times the girth by 
the length. 

Cupolas and Domes. — Three times the girth at base, 
multiplied by the greatest height. 

Trellises. — Three times the girth of posts and rails, 
and multiply by the length. Arched trellises, four 
times the superficial measurement. 

Fences. — Picket and board fences, measure on the 
rail side, adding the girth of the rails, double this, then 
multiply by the length of the fence, adding circumfer- 
ence of posts to the length. For picking in or tops of 
pickets, add one-fourth more. Fancy fences, same as 
for turned balusters. Cast-iron fences, four times the 
height of one side, multiplied by length, provided the 
posts are to be painted w r ith the fence. Iron bar or 
pipe fencing, take the girth of pipe and multiply by 
four, making one foot the minimum girth, then multi- 
ply by length of fence. If posts are to be painted, 
then add girth of same to the length of fence. 



14 THE PAINTER'S ESTIMATOR 

Spires and Towers. — Plain boarded, measure the 
greatest girth by doubling the height. Where there is 
more or less ornamental work you will have to esti- 
mate accordingly, using your best judgment in the 
matter. 

Skylights. — Square measurement, multiplied by 
three or four. 

Unclassified Work. — There will always be found 
more or less work that is not included under any of the 
heads here given, such as work on store fronts and 
other commercial or public structures, and including 
striping, gilding, carved work, etc., and where the 
rule of measurement can hardly be used, and in all 
such cases you must depend upon your judgment, as 
to the amount of material and time it will take to do 
the same. 



MEASURING INTERIOR WORK 

The Woodzcork. — Begin with the first floor, and 
measure the doors, one side only, excepting closet 
doors. Run the tape line into all depressions and 
count in one edge. Multiply height by width. Meas- 
ure the frames of the rabbet only, leaving the rest or 
other side for the next room or hall, as the case may be. 
Measure window frames same as door frames, also tak- 
ing in the stool at bottom part. Measure sashes as in- 
dicated in exterior measurement. Base-board and 
dado or wainscoting, these you will have to get data for 
from the carpenters' specifications, as the plans do not 
indicate height or character. Same with the mantels, 
you will have to guess at them, or get some idea of size 
and character from the architect or owner, that is, if 
you are to do them. Ascertain what kind of wood is 



THE PAINTER'S ESTIMATOR 15 

to be used on each floor, and what finish is to be fol- 
lowed, also what materials or make of stock is to be 
used. I refer to the floors now. The floors may not 
be finished as the rest of the woodwork; as a rule they 
never are. As there are many ways of treating a 
wood floor, whether hard or soft wood, some methods 
involving considerable labor, while other ways in- 
volve comparatively little, it is important to know 
which way you are expected to finish them. 

Xow measure the other rooms and parts of the 
houses or buildings. In houses of the better class 
there will be pantries, china closets, vestibules, back 
entries, etc., and all these must be carefully measured. 
Then there are clothes closets and the bath room, 
maybe more than one. Measure halls, landings, and 
stairways. On the latter are the risers, the treads, and 
the balusters. Measure as you have been advised for 
other similar work, running into quirks and mouldings, 
etc., and getting all the surface there is, and a little 
more in some instances, as where there is more elabo- 
rate work than common. 

Measuring Interior Painting. — Beginning with the 
ceiling, is it to be painted in oil or water color paint? 
In either case, if the wall has to be washed and tinted 
or whitened, then allow double surface. If to be 
sized in addition, allow triple. This rule applies to 
water color painting only. Next we come to the cor- 
nice, if any. Same rule for both wooden and plaster. 
A cornice may contain very much or very little orna- 
mentation, or a medium amount, so that we have to 
measure according to its character. Say it consists of 
three or four mouldings, each to be tinted differently, 
allow twice the girth. If washed, sized and tinted 
around the room. If tinted in one color or tint only, 
allow twice the girth. If washed , sized and tinted 



16 IKE PAINTER'S ESTIMATOR 

one color, allow three times the girth. If the cornice 
has dentils, then allow three of four times its greatest 
girth. This rule applies also to stucco or mouldings 
on the ceiling. Where a cornice girths twelve inches 
allow eighteen inches. Where the net girth is eighteen 
inches, allow three feet. Cornices decorated with 
leaves or other ornaments, allow three feet. Measure 
center pieces same as cornice, carrying the tape around 
the outer rim, and charging according to the number 
of tints, etc. Also, note amount of decorating or orna- 
mentation on center piece. 

Wall Painting. — If no particular care is to be ex- 
ercised in cutting in around it carefully, do not allow 
for openings. If woodwork is to be painted, then al- 
low for one-half the openings. Staircase walls, add 
one-third to total measurement, and make no deduc- 
tion for openings. China closets, triple surface meas- 
urement, with no allowance for openings. Where the 
walls are rough-cast or sandfinished, add one-half to 
surface measurement, with no allowance for openings. 
This rule applies to both water color and oil color 
painting. Where the walls or ceiling are to be sten- 
cilled or otherwise decorated you will have to estimate 
upon your judgment, as no specific rule can be laid 
down for such decorative Avork. 

Painting the Woodwork. — Any part that will meas- 
ure up to four inches wide consider as one foot. From 
six to twelve inches in girth consider as being two feet 
in girth or width. Where the measurement is from 
twelve to eighteen inches wide allow three feet. When 
corner block and plinth are a part of the frame 
add one foot to the height of each side. If more 
or less ornate headers are in use, allow from three to 
six times the length. 

Full-trimmed windows and shutters and inside 
blinds, measure around the back band, and if the archi- 



THE PAINTERS ESTIMATOR 17 

tiave is panelled allow a girth of three feet; otherwise 
measure as directed for plain painting above. For 
shutters on full trimmed windows, if folding, allow 
one foot girth for each face of fold if plain moulded. 
Panelled shutters, allow eighteen inches for each face 
of fold. If the shutters have also slats or blinds, allow 
three times the width of each face of fold. 

Sub-Base, or Washboard, when not above ten inches 
high, allow twelve inches. If above twelve inches in 
height, allow fifteen inches, in either case including 
moulding with the board. 

Shelving, up to one foot in width, allow one and 
one-half times the surface measurement. For strips cut 
in on one edge allow four times the width. 

Dado, panelled, allow from two to three times the 
width. If sheathed with cap and base, allow twice the 
width. 

Stairs are to be measured from top edge of base to 
extreme edge of stringer for the girth; for the length 
measure risers and treads, and add one-half the length. 
Same rule applies in case the stairs are cut down. 

Hand Rail and Balusters, measure from the tread 
up longest baluster, around hand rail and down the 
tread. Where there are two or three balusters to 
each tread allow two or three times, as the case may- 
require. Same rule where there is panelled work be- 
low the balustrade. Measure newel post in its greatest 
girth when getting length of stair balustrade. Fancy 
balustrades allow six times the height of baluster by 
length. 

Sashes, two or more lights, measure square. Twelve 
or more lights to the window, add one-half or double, 
according to character of work on same. Fancy sash, 
multiply length by three times the width. 

Sheathing, plain, allow one and one-half times. 



18 THE PAINTER'S ESTIMATOR 

Beaded, allow an additional inch for each bead, adding 
to above measurement. 

Mantels, plain, measure square and multiply by 
three; no allowance for openings. Ornamental man- 
tels, square measurement, multiplied from five to ten 
times, according to character and amount of work, 
with no allowance for openings. 

Floors, plain, one and one-half times measurement. 
Hardwood with plain center and border, allow double 
surface. Parquetry, of any pattern, three to five times 
surface measurement. 

Mouldings, beads and strips of less than four inches 
wide, and separated from other finish, allow a foot, 
minimum measurement, for width. 

Blinds, plain slats, multiply length by three times 
the girth. Movable slats, multiply length by four 
times the girth. See rule for blinds in exterior paint- 
ing. 

Doors and Window Frames, plain or with transom, 
not above six inches in girth, allow one foot for the 
girth, and multiply by length all around. Above six 
inches, allow double. For panelled frames allow 
three times the girth by length all around. 

Batten doors, measure square with one-half added, 
and add an inch for each bead to the width measure- 
ment. Panelled doors, multiply length by twice the 
width. Measure edges double. 

Columns and pilasters measure as directed for same 
in exterior painting, which see. Pilasters are meas- 
ured two-thirds of the column measurement. 

Seaffoldin? for the work must be estimated, for 
either inside or outside work. There will be a proper 
charge for any staging requiring the services of a car- 
penter, or that is not the regular staging of the painter. 
What this shall be must rest with the painter's judg- 
ment and his actual knowledge of its cost to him. 



THE PAINTERS ESTIMATOR 19 



COMPARISONS OF PAINTERS' PRICES 

That there is considerable variety in prices charged 
by painters in different parts of the country is evi- 
dent from the figures herewith. In collecting these 
rates, care was taken to get only prices charged by 
reputable painters. Prices in the middle west average 
a little lower than those in the east. Where prices for 
one, two and three coat work are given it is noticeable 
that more is charged for a second or third coat than 
for the first. Many painters, apparently the more 
careful ones, explain their own range in price as de- 
pending on the condition of the surface to be painted. 
This means that if the old coats were pure white lead 
and linseed oil, the surface will be in prime condition 
for repainting. No scraping or burning is necessary 
and the w T ork can therefore be done at the lower price. 
It will be seen that the unit of measurement is the 
square. Many painters figure by the square, which is 
ioo square feet , while others figure by the square yard, 
which is 9 square feet. 

ioo Square ioo Square ioo Square 
Price in the Feet Feet Feet 

Vicinity of I Coat 2 Coats 3 Coats 

Boston $1.10 

Buffalo 1. 00 

f 75 $i-S5 

Chicago i .80 1.65 

I 1. 00 2.00 

Cincinnati .6^ 

Cleveland j .80 1.75 

( .85 2.00 

Philadelphia 70 4 



20 



THE PAINTER'S ESTIMATOR 



ioo Square 


100 Square 


100 Square 


Price in 


Feet 


Feet 


Feet 


Vicinity of 


i Coat 


2 Coats 


3 Coats 




r .65 


1.50 


$1.90 




.70 


1.50 




Pittsburgh 


.80 

1. 00 


1.80 










1. 10 








I 1.25 








r .70 
•65 


i-55 


2.20 


St. Louis < 


1.6; 


2.30 


bo bo 

GO 


1.50 


2.50 




1.65 


2.65 



In this table of prices, where the price of one coat only 
is given, it may be understood as an average price per coat, 
for one, two or three coats. 



PAINTERS 1 PRICE LIST 



For United States and Canada. 

Rate per 
Description of Work. Sq. Ft. Sq. Yd. 

FRAME BUILDING, Exterior, New: 

Priming, general woodwork $.10 

siding and putty .12 

putty, and second coat .t6 

putty, second and third coats .22 

For all other descriptions of work, see rates 
for old work, as follows: 

OLD WORK, Frame, Exterior: 

One coat paint on siding .12 

Square-up bay windows, old, dry siding, one coat .12 

two coat- .18 

three coats .22 

The bay windows include cornice and window frames. 
Plain porch, without rail, including roof, floor, 

and lattice work, one coat 36 

two coats 55 

three coats ,80 



THE PAINTER'S ESTIMATOR 21 

Rate per 
Description of Work. Sq. Ft. Sq. Yd. 

Porch with railing, one coat 46 

two coats j6 

three coats 1.00 

Lattice work on back porch, two coats, two si .40 

used as screen, three coats .55 

Five-foot blinds, per pair, one coat .43 

two coats .65 

three coats .85 

Eight-foot blinds, three panels, one coat .66 

two coats 1. 00 

three coats 1.30 

Dormer, one window, one coat 1.33 

two coats 2.00 

Dormer, two windows, three coats 3.00 

Small chimney, one coat 1.33 

two coats 2.00 

three coats 2.75 

Large chimney, one coat , . 2.00 

two coats 3.00 

three coats 4.00 

Tin roof, one coat .01 

two coats 01/2 

three coats 02 

Gutters and valleys, one coat, per running foot. . .02 

two coats, per running foot, . .03 

three coats, per running foot. . .03 

Sloping tin roofs, from one-third pitch upward, 
add something additional ; the Denver Associa- 
tion list gives 50c. per roof, which is rather in- 
definite. Be governed by the increased difficulty 
in the painting of such a roof. Estimates are 
based on the use of usual roof paints, properly 
applied. 

Coping on roof, charge same as for gutters. 

Painting shingle roof or gables, one coat .13 

two coats .20 

three coats .30 

Painting old, dry roof, add 50c. per square 
yard, for first coat. 

Picket fence, three feet high, one coat 10 

two coats 15 

three coats , .20 



22 



THE PAINTER'S ESTIMATOR 



Rate per 
Description of Work. Sq. Ft. Sq. Yd. 

Picket fence, four feet high, one coat 12 

two coats 18 

three coats 25 

Iron fence, one coat, plain 06 

two coats, plain 10 

one coat, fancy 08 

two coats, fancy 12 

three coats, fancy 15 

Outside cellar doors, per coat 1.00 

Shingle staining, dipped, per 1000 3.50 

dipped and brush-coated on roof 4.00 

JBRICK BUILDING: 

Plain cornice, one coat 08 

two coats 13 

three coats 16 

Bracket cornice, one coat 10 

two coats 15 

three coats 20 

Dentil cornice with brackets, one coat 12 

two coats 18 

three coats 25 

Small window frames, 4 to 12 light sash — 

one coat, each .25 

two coats, each .35 

three coats, each .50 

Large window frames, 4 to 12 light sash — 

one coat, each .35 

two coats, each .60 

three coats, each .65 

Count windows in bays same as others. 

Painting old painted brickwork, one coat 13 

two coats 20 

three coats 30 

Painting unpainted brickwork, one coat 15 

two coats 25 

three coats 35 

Pencilling brickwork 15 

The foregoing includes cornices and frames, 
all being measured together. Plastered work on 
brick or stone same as plain brickwork. 

Sanding on last coat of paint 10 

One coat of paint on new or old sanded work . . .15 



THE PAINTER'S ESTIMATOR 23 

Rate per 
Descripion of Work Sq. Ft. 

Second coat on above 15 

Burning off old paint, charge for time and 
material. 
Glazing sash, up to 10x14, per light, 5c to 6c. 

10x16, per light, 7c to 9c. 

14x24, per light, 10c to 12c. 

18x25, per light, 15010 18c. 

24x30, per light, 20c to 25c. 

36x40, per light, 35c to 50c. 
Glazing old work, charge about 40 per cent. 
more; or twice the retail price of glass; or, time 
and material. 

INTERIOR WORK: 

Painting doors, two sides, one coat, one shade, per door .84 

two coats, one shade, per door 1.25 

one coat, two shades, per door 1.00 

two coats, two shades, per door 1.50 

three coats, one shade, per door 1.75 

three coats, two shades, per door 2.00 

Small window casing and sash, one coat, one shade. . 

two coats, one shade. . 

one coat, two shades. . 

two coats, two shades. . 

Large window casing and sash, one coat, one shade. . 

two coats, one shade. . 
one coat, two shades. . 
two coats, two shades . . 
Sandpapering and puttying natural finish or stained 

work, per square yard 10 



•47 
.70 
.60 
.90 
.60 
.90 

74 
1. 10 



FLOOR WORK: 

Oak, paste-filled, one coat varnish, rubbed with pum- 
ice stone and oil, per sq. yd 35 

Same, with two coats of varnish 50 

Parquetry floor, paste-filled, one coat varnish, rubbed 

and puttied 40 

Same, with two coats of varnish 60 

Oak, paste-filled, one coat of wax 30 

Same, with two coats of wax 45 

Yellow pine, one coat liquid filler and coat of varnish. .25 



24 THE PAINTER'S ESTIMATOR 

Same, but with two coats of varnish 35 

Yellow pine, liquid filled, one coat of varnish, polished 

by rubbing 27 

Same, with two coats of varnish 40 

One coat of varnish on new oak or yellow pine 12 

Second and third coat on same, each 10 

One coat of linseed oil 08 

Two coats linseed oil 12 

Waxing and polishing floor, one coat, per sq. yd 15 

Varnishing blinds, one coat, per pair 27 

two coats, per pair 40 

three coats, per pair 60 

Painting inside blinds, two folds, one coat, per pair 40 

two coats, per pair. . . .60 
three coats, per pair. . .75 

One coat high-grade varnish or shellac, per sq. yd 15 

One coat ordinary varnish or shellac, per sq. yd 10 

Charge according to price of varnish used. Some 
add as much as ten cents per yard extra for best. 

Oiling or staining natural wood 10 

For best rubbed finish on work having dentilled, carved, 

or panelled work, add per yard extra 60 

For special piano finish or extra fine work charge 
for time and material. 
Ordinary hardwood trim, liquid filled and two coats of 

hard oil, rubbed 75 

Each additional coat of varnish or shellac 15 

Liquid filled, one coat hard oil, one coat wax 45 

Each additional coat of wax 10 

ping off oiled floors, with cloths, add per yd. extra. . .05 

Wainscoting, one. coat, per square yard 12 

two coats, per square yard 18 

three coats, per square yard 25 

One coat each of liquid filler and varnish, per sq. yd 18 

One coat liquid filler and two coat> varnish, per sq. yd.. .25 
One coat liquid filler, one coat varnish, rubbed with 

pumice stone and water or oil, per sq. yd 35 

One coat liquid filler and one coat varnish, two sides 

of door and frame, rubbed with pumice 1.35 

Same, but with two coats of varnish 2.00 

One coat liquid filler and one coat of varnish, two sides 

of door and frame 1.00 

Same, with two coats of varnish 2.00 

One coat varnish and liquid filler, one side 50 



THE PAINTER'S ESTIMATOR 25 

Window casings and sash, filled and varnished 70 

Same, with two coats varnish 1.00 

Base board, one coat, per running foot 01 

two coats, per running foot 01 y* 

three coats, per running foot 02 

This is for filler, varnish or paint. 
Book cases, 5 feet high, filled and varnished, inside and 

outside, per sq. ft 40 

Same, with two coats of varnish 60 

Same, rubbed with pumice and oil, per sq. ft 7^ 

Same, paste filled, three coats varnish, rubbed 1.00 

Painting box stairs, one coat 1.75 

two coats 2.50 

three coats 3.50 

Painting open stairs, with rail, one coat 4.00 

two coats 6.00 

three coats 7.50 

Box stairs, liquid filled and one coat varnish 2.00 

two coats varnish 2.75 

Open stairs, with rail, liquid filled and two coats varnish 7.00 

Same, with one coat of varnish only -. . . . 4.50 

Open stairs, paste filled, one coat varnish 8.00 

Same, with two coats of varnish 12.00 

Same, rubbed with pumice stone and oil !5-00 

One-platform stairs, filled, with one coat varnish 11.00 

Same, with tw r o coats of varnish 17.00 

Same, rubbed with pumice stone and oil 20.00 

Filling open-grain wood with paste filler, per yd 25 

Filling close-grain wood, liquid filler or shellac 10 

^:r: :oat of ~" rni ame . .ic 

Second cr third coat varnish, each, per sq. yd 

Hairing-off or sandpapering between coat: .: sq. yd.. 

Rubbing to ordinary dead finish 

Rub to first-class egg-shell finish 25 

Painting radiators, per loop, one coat 10 

Bronzing, ordinary, per loop, one coat 10 

High-lighting same, per loop 05 

KALSOMINING: 

Xew plaster, smooth walls, white, light blue, or buff, 

per square of 100 feet 75 

Rough or sand-finished walls, per square 1.00 

Ten or more squares, 25c. less per square. 



26 THE PAINTERS ESTIMATOR 

Hard oiling and tinting, smooth plaster, ordinary tints. 

per square 1.25 

Ten or more squares, per square 1.00 

Rough or sand-finished plaster, per square 2.00 

Ten or more squares, per square 1.50 

Sizing and tinting sand-finished walls, per square 1.25 

Ordinary patching of plaster and preparing same, to be 
included in above rates. 

Strong colors to be charged extra, using your own judg- 
ment as to values. 

All cutting out of cracks and extraordinary preparation 
of plaster to be charged for at the rate of so much per hour, 
and added to the above prices. 

Scraping off old kalsomine or removing paper to be charg- 
ed for at so much per hour. 

GRAINING: 

The following list is that used by the Grainers' Associa- 
tion of Boston, Mass. The prices noted may be altered to 
suit local conditions: 

For all ordinary work: Kitchens, not over five 
door sides and ordinary sheathing, accord- 
ing to the quality of the work, from $3-50 upwards 

Extra door sides and casings 50 each 

Pantry and closet work extra. 

No single room less than 3.00 

Double front doors, from 2.00 upwards 

Single front doors, from 1.00 

Ordinary work, per yard 15 to .20 

Extra, matching hard woods, etc 20 to .40 

Floors and ceilings, per sq. ft 03^2 

Store and bar room work, and all places difficult of ac- 
cess, involving delays, extra, 20 to 30 per cent. 

Fine work, as rare woods, with double graining, special 
prices. 

Board and car fares charges on all work out of town. 

MARBLING: 

There is very little marbling done now, and where 
such work is taken prices must be based upon the pre- 
vailing rates of wages for extra fine work. It will be 
found best to charge per day or hour, though the fol- 



THE PAINTER'S ESTIMATOR 27 

lowing table, which is not based upon any table in use, 
but is merely approximate to actual cost of doing such 
work, will be found useful : 

Ordinary sienna and black and gold marbling, per sq. ft. .to 

Egyptian and dove marbling, ordinary work 15 

Italian pink and malachite marbling, ordinary 15 

Rouge royal, granite, etc., ordinary 10 

For more elaborate work that the above list pro- 
vides for, an additional charge may be made. Prices 
must of course be governed by the skill of the work- 
man, and where an expert may charge almost any 
price and get it, a less skilful man will have to be con- 
tent with much less. 

ENAMELLING WOOD WORK: 

Three coats of paint, each sandpapered, and one coat 

enamel paint, per sq. yd y^ 

Same, but with four ground coats paint 90 

Same, but with five ground coats paint . . 1.00 

Each additional coat of enamel, per sq. yd 20 

Rubbed to dull finish, add per sq. yd 40 

Rubbed to piano finish, add per sq. yd 80 

WALL PAINTING: 

Sizing and one coat of paint, per sq. yd 15 

Each additional coat, per yard 10 

Stippling on last coat, add per yard 05 

Stippling on last two coats, per yard, add 10 

Painting burlaps or other woven fabric, per yard 15 

Wiping off or ivory effect, plain surface, per yard 25 

Same, done in relief work, such as ornamented frieze, 

center piece, flatted color, etc., caps extra, per sq. ft. .25 
Cornices, mouldings, etc., up to 9-inch girth, per run- 
ning foot 25 

Same, 9 to 18 inches 4° 

Same, 15 to 30 inches, including grounding 60 

Filling, painting, enamelling and gilding lines on baths, 
from ?5-oo to 10.00 



28 THE PAINTERS ESTIMATOR 

WATER COLOR WORK (See Kalsomining also): 

Water color, plain surface, per sq. yd io 

Tinting walls and ceiling, per yard 12 

Cornice, per foot, run one color, nor more than 12-inch 

girth, per yard 05 

Each additional color add per foot run, per yard 02 

Center piece, one tint, each 50c to 1.50 

If picked out in colors, each $1.00 to 3.00 

For cornice enrichments double above rates. 

One coat of hard-oil on walls and ceiling, per yard 08 

For such colors as chrome green and yellow, ultrama- 
rine blue, carmine, lakes, vermillions, etc., per foot, 

add 02 

Whitewashing, one coat, per square yard 05 

two coats, per square yard 08 

Stencilling borders not over 12 inches wide, one color, 

per running foot 07 

The same, two colors, per running toot 10 

For each additional color 07 

Sizing and gilding, plain surface, per book 1.00 

Mouldings or enrichments on ceiling, walls or wood- 
work, $1.75 to $2.25, according to amount of cut- 
ting required. 
Laying aluminum or other metal leaf on plain or smooth 

surface, including sizing, per book 75 

If lacquered or oxidized, add 25 

Same on burlap or other woven fabric 1.00 

Same, done in relief work, such as ornamental columns, 

cornices, caps or trusses 1.50 



HANGING WALL PAPERS: 

One-edge work, per roll, 20c. paper 

Two-edge work, per roll, 20c. paper. 

Ingrain, wire edge 

Ingrain, butt edge 

Wire edge, 25c. to 50c. goods 

Butt edge, 25c. to 50c. goods 

Pressed papers, per roll 50c. to ] 

Burlaps, fabrics and lincrustas, per yard 10c. to 

Paper, machine trimmed, per double roll 

Straight-edge or knife-trimmed, double roll 

Varnished tile, per double roll 

Felts, per double roll 



20 
25 
25 
30 
30 
35 
00 

30 

30 
40 

50 
60 



THE PAINTER'S ESTIMATOR 29 



Hanging silk fibres, per double roll ^o 

Two-thirds work, add, per roll 10 

Crown work, per crown 10 

Crown work, per yard 20 

Panelling, charge by hour. 
Cutting and hanging marble, in blocks, size 42 by 21, 

per roll 75 

Same, 21 by 11, per roll 1.00 

Same, lining out, sizing, and one coat of varnish, per yd. .40 

Same, twice sizing, and one coat of varnish 50 

Burlaps, dyed, stained or colored, per yard 25 

Japanese papers, Sanitas, or oil cloths, by hour. 
Block papers or equivalents, per roll 50c. to 1.00 

Hanging dado, ordinary upright lengths, double 
prices of w r alls. 
Hanging prepared muslin, per yard 10c. to .20 

BORDERS: 

Ordinary, up to 18 inches wide, per yard 5c. to .10 

Ingrains, same rate as above. 

These prices are for papers costing from 25c. to 
50c. Cheaper papers 3c. per yard. 

Borders are sometimes counted same as papers, 16 
yards to double roll, and charged at that rate. 
Sizing smooth walls, per double roll 05 

Removing old paper, charge by the hour. 
Hanging plate rail, up to 3 inches, per foot 10 

For wider plate rail, in above proportion. 
Hanging picture moulding, up to i J / 2 inch, per foot 03 

Wide mouldings in proportion. 



SPECIAL DIRECTIONS 

It is not well to give estimates on papering, ex- 
cepting by roll, square yard, or running foot. 

It is not safe to figure on more than 7 yards to the 
roll on cheap papers. 

Allow for all openings. 

All stripping, stopping, washing off and cleaning to 
be charged extra. 



30 THE PAINTER'S ESTIMATOR 

Some deduct for all openings above base-board, 

while others deduct one-half of a single roll for each 
door or window. No deduction is usually made for 
the border, which will allow for waste in matching, 
trimming, etc. In our judgment, based upon expe- 
rience, where ordinary paper is hung, it is best to 
measure the work as solid, making no deductions, un- 
less the openings are more than ordinarily large, as 
when there are folding doors, very large windows, 
and high doors or low ceiling. By this method all 
losses from trimming and matching are compensated 
for, and the amount of paper estimated to cover the 
room will be found very near what is required, with 
very little left over. 

Nearly all wall paper is put up in double rolls, each 
single roll being the basis for price unless otherwise 
stated. A single roll is usually cS yards long and 
eighteen inches wide, after trimming. Cheap papers, 
as already pointed out, usually have only 7 yards to 
the single roll. Ingrains come in three-roll bolts, 30 
inches wide, 8 yards to the single roll, or 24 yards to 
the triple roll. Crepes and plain duplex papers come 
the same as ingrains. A single roll will cover 33 
square feet. Twenty-inch paper comes in bolts of two 
rolls, or single pieces. It has eight yards to the single 
roll, and trims to 18 inches. It will cover 30 square 
feet. 

Measuring a Room. — To get the amount of paper 
necessary to hang a room, there are several methods, 
and also tables. It is simply a matter of getting the 
amount of surface to be covered, and know the number 
of square feet that a roll of paper will cover. My 
own practice has been to get the girth of the wall in 
feet, then multiply this by 12, converting feet into 
inches, then dividing this sum by 18, to get the number 
of widths of paper necessary. The number of widths 



THE PAINTER'S ESTIMATOR 31 

or strips of paper is then divided by the height of the 
ceiling, from the floor to the ceiling, thus : 

Room 12x12: girth, 48 feet; equalling inches 576; 
which, being divided by 18, width of paper, gives 
widths or strips 32; height of ceiling 8 feet; multiply- 
ing 32 strips by height of ceiling gives 256 feet, equal- 
ling 102/3 single pieces. A table gives the amount 
for this size room at 12 single rolls. As no deduction 
has been made for openings, it will be seen that 1 1 sin- 
gle rolls would be plenty and to spare, but as there are 
two single rolls to the bolt it would be well, at least in 
the case of inexpensive paper, to get the six double 
rolls, or 12 pieces. 

The ceiling being 12x12 feet, multiply the width by 
12, to get inches 144, which divide by 18 to get num- 
ber or widths or strips, 8, which being multiplied by 
the length of room, 12 feet, gives a total of 96 feet, 
which in turn being divided by 24, number of feet in 
one single roll or piece, gives a total of 4 pieces re- 
quired to paper the ceiling; as this makes no allow- 
ance for matching and other losses, we should allow an 
extra single roll, making five single rolls. This is ex- 
actly what a "table" gives for this size ceiling. 

This is a rather tedious method of measuring, but it 
is at the same time reliable, and quite as easy when you 
become accustomed to it as any other method. 

To measure a room, run a tape line around half way, 
if the room is of regular formation ; otherwise, in 
order to get angles or inequalities run the line all 
around. 

Some measure by means of a bolt of paper, getting 
the number of widths around the room. Many can 
tell by a scrutiny of a room just how much paper it 
will take to do it. There is a device made for meas- 
uring with, by which you run the wheeled instrument 
around the room, and it records t^e number of feet. 



32 THE PAINTERS ESTIMATOR 

Another tool will give the number of rolls required, 
once you know the size of the room. Set this device 
to correspond with the dimensions of the room, and an 
indicator will tell the amount of paper required. 

Where there is a rather high base-board, or wide 
frieze, or a dado, suitable deductions must be made. 
Also where there are openings more than ordinary. 
Also where costly paper is being used the estimate may 
be made closer. 

Always allow for a little more paper than is actually 
needed for a job, especially if distant from the source 
of supply. 

For the convenience of those who prefer a table of 
estimates, I will give the following, which is in use by 
an Ohio workman. It allows liberally : 



TABLE OF ESTIMATES FOR THE WALL 
PAPER HANGER 

In order to save time and tedious figuring, we have 
here a table of estimates that will give the required 
amount of paper for rooms of various sizes, as listed, 
and the allowances made are ample for waste in match- 
ing, etc. The estimates are based on the single roll 
of eight yards, and where wider paper are used allow- 
ance will have to be made. For instance, if 20-inch 
paper, then add one-ninth more to the estimate, as the 
wider paper will cover two inches more to the strip 
than the ordinary width of 18 inches. And so with 
still wider papers, like ingrains. An ingrain of 30 
inches contains two-thirds more width than ordinary 
paper. Again, remember that some papers, like in- 
grain, is put up in triple rolls, that is, three single 
rolls to the bolt. 



THE PAINTERS ESTIMATOR 33 

ROLLS OF PAPER FOR ROOMS. 

Running Rolls 

ft. around Height of Room. for 

side wall. 8 ft. gft. 10 ft. lift. 12 ft. 13 ft. 14 ft. Ceiling 

18 5 5 6 6 7 8 8 

20 5 6 7 7 8 8 9 

22 6 6 7 8 8 9 10 

24 6 7 8 8 8 10 11 

26 7 8 8 9 10 11 12 

28 7 8 9 10 11 11 12 2 

30 8 9 10 10 11 12 13 2 

32 8 9 10 11 12 13 14 2 

34 9 10 11 12 13 14 15 2 

36 9 10 11 12 13 14 16 2 

38 10 11 12 13 14 16 17 2 

40 10 11 12 14 15 16 17 2 

42 11 12 13 14 16 17 18 2 

44 11 12 14 15 16 18 19 2 

46 12 13 14 16 17 19 20 2 

48 12 13 15 16 18 19 21 2 

50 13 14 16 17 19 21 22 3 

52 13 15 16 18 19 21 22 3 

54 14 J 5 *7 18 20 22 23 3 

56 14 16 17 19 21 22 24 3 

58 15 16 18 20 22 24 25 3 

60 15 17 19 20 22 24 26 3 

62 15 17 19 21 23 25 26 3 

64 16 18 20 22 24 26 28 3 

66 16 18 20 22 25 27 29 3 

68 17 19 21 23 25 27 29 3 

70 17 20 22 24 26 28 30 3 

J2 18 20 22 24 2J 29 31 4 

74 18 21 23 25 27 30 31 4 

76 19 21 23 26 28 30 32 4 

78 19 22 2 4 26 29 31 33 4 

80 20 22 25 27 30 32 34 4 

82 20 23 25 28 30 33 35 4 

84 21 23 26 28 31 33 36 4 

86 21 24 27 29 32 35 37 4 

88 22 24 27 30 32 35 38 4 

90 22 25 28 30 33 36 39 6 

92 23 26 28 31 34 37 39 8 

94 23 26 29 32 35 38 41 9 

96 24 27 30 32 35 38 41 ......10 



34 THE PAINTER'S ESTIMATOR 

ROLLS OF PAPER FOR ROOMS —Continued. 

Running Rolls 

ft. around Height of Room. for 

side wall. 8 ft. 9 ft. 10 ft. 11ft. 12 ft. 13 ft. 14 ft. Ceiling 

98 24 27 30 33 36 39 42 12 

^ T oo 25 28 31 34 37 40 43 13 

102 25 28 31 34 37 41 44 13 

104 26 29 32 35 38 41 44 14 

106 26 29 33 36 39 42 46 14 

108 27 30 33 36 40 43 46 14 

no 27 30 34 37 40 44 48 15 

112 28 31 34 38 42 44 48 15 

114 28 32 35 38 42 45 49 18 

n6 29 32 36 39 43 46 50 18 

118 29 ^33 36 40 43 47 5i 19 

120 30 33 37 40 45 48 51 19 

122 30 34 37 4i 45 49 52 20 

124 3 1 34 38 42 45 49 53 2T 

126 3 1 35 39 42 46 50 54 22 

128 32 35 39 43 47 52 56 23 

*3o 3 2 36 40 44 48 53 58 24 

J 32 3^ 36 40 44 48 55 59 2 5 

*34 33 37 4i 45 49 55 60 26 

136 33 38 42 46 50 56 60 27 

138 34 38 42 46 51 57 62 29 

140 34 39 43 47 5 1 58 62 30 

142 35 39 44 48 52 59 6 3 3° 

144 35 40 44 48 53 59 63 31 

146 36 40 45 49 54 60 64 33 

148 36 41 45 50 54 60 64 33 

!5o 37 4i 46 50 55 61 65 34 

French papers vary in regard to the number of feet 
and width, but are mostly 9 yards long and 18 inches 
net wide. Japanese paper is 12 yards long by 36 inches 
wide. Pulp papers, such as ingrains, are usually 30 
to 36 inches wide. English paper is usually 21 inches 
wide by 8 yards long. American wall paper, as pre- 
viously stated, is 8 yards long by 18 inches wide, net. 
Very cheap paper will, as a rule, be short about one 
yard, but a full-length paper will contain four square 
yards, or 36 square feet. The smaller the pattern the 



THE PAINTER'S ESTIMATOR 35 

less the waste in matching. Waste in paper may be 
roughly estimated at one piece in every eight. By 
"piece" is meant a single roll, for many call it piece in- 
stead of roll, as the word roll is confusing. A roll is 
one piece or 8 yards; a bolt is two pieces, or 16 yards. 
A bundle is 50 double rolls or bolts, making 100 single 
rolls or pieces. 

Preparing* walls for papering, including sizing, is 
usually charged for by the hour, but some charge so 
much per piece hung-, as this will net more money than 
charging % the hour. Thus, where sizing is to be 
done and the area will require say 20 single rolls of 
paper, you charge three cents per roll for sizing, that 
will make 60 cents for the job, whereas, the work may 
not have taken over half an hour ; of course the glue 
must be taken into account in any case. Still, where 
the cleaning or repairing is such an indefinite matter it 
is not feasible to charge by the roll, but by the hour. 



36 THE PAINTER'S ESTIMATOR 



LETTERING AND GENERAL SIGN PAINTING 

Any price list for sign painters, no matter how 
carefully prepared, must be accepted as approximat- 
ing rather than being the absolute standard, for con- 
ditions vary with the locality and its state of compe- 
tition, saying nothing of quality of work the individ- 
ual may be able to turn out. The following table is 
taken from actual working prices ruling in shops of 
leading cities east and west. It is interesting as well 
as profitable for a sign painter to take careful ac- 
count of some jobs, covering the usual run of work 
of the shop, and thus ascertain just how much it 
costs to do the work, then by adding 25 per cent, 
for profit, see what this will total, then compare with 
this table. 

This list of prices is the same as I embodied in my 
book, The Expert Sign Painter, but to it I have 
added considerable more details, which will greatly 
extend its value in affording a ready reference for 
the busy sign man, who will find it carefully pre- 
pared. I have arranged this table alphabetically, in 
order that any item may the more readily be located. 

AWNING SIGNS 

The following figures are based on six-inch letters, 
adding 10 per cent, for each additional inch height. 
The prices given govern lettering on awnings for 
stores, wagon covers, horse covers, wagon umbrel- 
las, etc. When work is done in quantity, as for large 
concerns, allow a discount, according to the cost or 
size of the contract. 



THE PAINTER'S ESTIMATOR 37 

Lettering, one color, per running foot 06 

two colors, per running foot 10 

three colors, per running foot 12c to .15 

Shading, add 2^ per cent, to above prices. 



BRASS SIGNS 

The price for a brass sign must be based upon the 
kind of work done, whether acid etched letter filled 
with cement, or a very shallow etching painted in. 
The price for the former work ma}' run from $3.00 
a square foot to S4.00, according to size, whether 
a foot square or more than one foot. Smaller signs 
may run from $2.00 to $4. 00, for one line of letters. 
For two lines add from one-fourth to one-third more. 
Painted-in letters about 25 per cent. less. Raised 
letters are charged for by the upright inch, say 35 
cents. Raised border charged for by the running 
foot, say $1.00 a foot. Bevelling brass sign charge 
per running foot. 30 cents. Minimum charge, not 
less than one dollar. Doing an old brass sign over, 
which involves repolishing and filling, not less than 
one dollar per square foot. 

BOARD SIGNS 

The following list is based on three coats of good 
oil paint, made from pure white lead and oil, properly 
applied, lessening the charge for two or one coat 
work. If you furnish the board and irons and put it 
up, all extra. If shaded one color, add 25 per cent. 
extra. 

White ground and black letters, per running foot 50 

Silver or aluminum leaf, per running foot 75 

Ordinary 'Tor Rent" signs, each 1.00 

Lettering, plain on plain ground, per square foot 25 



38 THE PAINTER'S ESTIMATOR 

Same, on large boards, per square foot 20 

Gold leaf on painted ground, per square foot 30 

Silver or aluminum leaf, cut in, plain ground, per sq. ft. .20 
Plain lettering with paint, or cut in, per square foot 10 

The above five items are given for lettering alone. 
not including board, painting board, etc. 

When surface is to be varnished, add 5c. per square 
foot. 

For two lines on same board, increase rate by 10 
per cent. 

For edge, plain or bevelled, in leaf, add 10c. per 
running foot. 

BOARD SIGNS— RAISED LETTERS 

Prices same as painted letter board sign. Wood- 
en letters extra. Gilding rounded or bevelled edge 
letters 10c. to 15c., according to size and thickness 
of letter, per upright inch. For aluminum or silver, 
allow 20 per cent, off price for gold. 

BOARD AND GALVANIZED FASCIA SIGNS 

Per Lineal Foot. 

Gold. Silver, Paint. 

Up to 6 inches wide $ -SO $ .40 $ .30 

12 inches wide 65 .50 .40 

18 inches wide 85 .j^ .60 

24 inches wide 1.00 .85 .70 

30 inches wide 1.00 .80 

36 inches wide 1.50 1.25 .90 

The above prices are based on smalted ground 
and one-line lettering. 

After the first full line add 30 per cent, per foot 
for additional work in gold; for silver add 25 per 
cent. For paint add 20 per cent, per foot. 

For repainting deduct 20 per cent. 



THE PAINTER'S ESTIMATOR 3D 

If customer furnishes board deduct 20 per cent. 

If finished in varnish add 30 per cent. 

If gold ground add 75 per cent. 

If done on both sides add 75 per cent. 

CARVED RAISED LETTERS ON FASCIA 
BOARD, WITH BLACK SMALTED GROUND 

Per Lineal Foot. 

3-inch letter, up to 14 inches wide $i- 2 5 

4-inch letter, 14 to 18 inches wide . . . 1.50 

5-inch letter, 18 to 24 inches wide 1.75 

6-inch letter, 24 to 30 inches wide 2.00 

9-inch letter, 30 to 36 inches wide 2.50 

Letters gilded in XX gold leaf, deep shade. 

If in silver deduct 20 per cent. 

If two lines of letters add 75 per cent. 

I have before me as I write several lists of price- 
that are what may be called standard, in that they 
are used by large firms or established by associations 
of sign painters. There is not a little difference in 
the figures given for identical work. This illustrates 
again the fact that any price list formulated must be 
regarded as merely approximate, and for a more 
correct list, or one more satisfactory to the indi- 
vidual, we must work out our own. Thus, the Pitts- 
burgh Association list gives, for 60 square feet of 
sign work, $10.00. The list used by a large western 
city firm charges for the same amount of surface 
$15.00. In the former figure is included two coats 
of paint with the lettering. In the latter figure the 
price is for the lettering alone. 

However, as affording some basis for giving esti- 
mates on, I herewith append two tables of prices: 



40 THE PAINTER'S ESTIMATOR 



BOARD SIGNS OF DEFINITE SIZES— PAINT 

2 by 16 feet $ 6.00 10 by 20 feet $16.00 

2 by 20 feet 7.00 10 by 24 feet 19.00 

2 by 24 feet 8.00 10 by 30 feet 22.00 

2 by 30 feet 10.00 12 by 16 feet 14.00 

3 by 16 feet 8.00 12 by 20 feet 18.00 

3 by 20 feet 10.00 12 by 24 feet 20.00 

3 by 24 feet 12.00 12 by 30 feet 2 5-00 

3 by 30 feet 14.00 14 by 20 feet 20.00 

4 by 16 feet 9.00 14 by 24 feet 24.00 

4 by 20 feet 12.00 14 by 30 feet 28.00 

4 by 24 feet x 3-00 16 by 24 feet 26.00 

4 by 30 feet 1500 16 by 30 feet 30.00 

6 by 16 feet 12.00 20 by 24 feet 30.00 

6 by 20 feet 14.00 20 by 30 feet 35-00 

6 by 24 feet 16.00 20 by 40 feet 40.00 

6 by 30 feet 18.00 21 by 30 feet 37-00 

8 by 16 feet 14.00 24 by 36 feet 42.00 

8 by 20 feet 16.00 24 by 40 feet 48.00 

8 by 24 feet 18.00 30 by 40 feet 60.00 

8 by 30 feet 20.00 30 by 50 feet 70.00 

10 by J2 feet 10.00 30 by 60 feet 80.00 

10 by 16 feet l 3-°o 



A LIST OF PRICES FOR SMALLER BOARDS 

THAN ABOVE 

Paint. Gold. 

6 inches by 4 feet $2.50 $ 4.00 

8 inches by 6 feet 3.50 5.00 

10 inches by 8 feet 4.00 6.00 

12 inches by 12 feet 5.00 7.50 

11 inches by 15 feet 5.00 8.50 

14 inches by 16 feet 5.00 8.50 

14 inches by 18 feet 6.00 9.00 

14 inches by 20 feet 6.00 9.50 

16 inches by 16 feet 6.00 9.50 

16 inches by 18 feet 6.00 10.00 

18 inches by 18 feet 6.00 10.00 

18 inches by 20 feet 7.00 12.00 

18 inches by 24 feet 7.00 15.00 

18 inches by 30 feet 8.00 18.00 



THE PAINTER'S ESTIMATOR 41 

BULLETIN SIGNS 

Air. G. G. O'Brien, the largest operator in signs 
of all descriptions, particularly in bulletin and wall 
signs, tells me that in all the cities he is familiar with 
the price of a bulletin sign includes the rental in all 
cases. The prices vary from 25 cents per running 
foot to 40 cents a month, for all ordinary locations, 
on a yearly contract, including painting and repaint- 
ing. Specially good location will advance the price 
beyond 40 cents a running foot, and on less than 
yearly contracts the price is proportionately higher. 
For these figures the work is to be strictly first-class 
in every particular. Prices also vary as to city. 
Equal degrees of work may bring more or less ac- 
cording to local conditions. Where the territory for 
bulletin display is large, as at Buffalo, Cleveland, 
Philadelphia, etc., rentals are lower, and hence prices 
are lower. Territory about the city of Pittsburgh 
is limited, owing to the broken or hilly character of 
the land, and hence prices are higher, as occurs in 
all cases where a supply is less than the demand. 

As regards the mechanical side of the matter, he 
says: "Put up as good boards as you can get built, 
then paint them as good as you know how. Prices 
will likely be according" to the quality of your work. 
The location of the sign will of course have to be 
good. We have one sign in this city (Pittsburgh) 
for which the advertiser pays us $175 a month; but 
it is an expensive location. As a rule, advertisers 
will pay liberally for the work where both work and 
location are good." 

There is the same degree of indefiniteness about 
prices on bulletin work as obtains with the other 
forms of sign work. There can be no standard that 
will suit every case. Some bulletin painters simply 



42 THE PAINTER'S ESTIMATOR 

make a bid on the work, basing- the bid on what they 
suppose they can do the job for, just as frequently 
occurs in house painting*. Some estimate the work 
by the square foot. One painter says that from $15 
to $30 a year for a section 9 feet by 12 feet would 
be a fair price, with an allowance of one-third off 
for renewals, where the original painting is to con- 
tinue for another year. When a bulletin board is 
divided up into small sections the total yield will be 
much more than where the entire board is sold to 
one party. Of course doing- the smaller sections re- 
quires much more time than doing the sign as a 
whole. 

Pictorial not duplicated must be charged for at 
higher rates than plain work. Certain parts of the 
space will be more valuable to an advertiser than 
certain other parts. The top, for instance, is more 
desirable a position than the bottom. 

Be sure what work you are to do, and where it is 
to go, before concluding any contract. 

Bulletin signs may be bought ready-made, in sec- 
tions ready for the posts; these are of sheet steel. 

Sizes run from 4 by 6 feet up. Charge so much 
each up to those ten feet in height, when the charge 
may be by the running foot, say $2.00 per foot. For 
each foot above ten add 25 cents per running foot. 

When bulletins are sold in lots a discount may be 
made, say 10 per cent. If you are not to erect the 
bulletin boards deduct say 20 per cent. The cost of 
rent of location must be added to charge. Pictorial 
backgrounds are to be charg-ed for at the rate of say 
ten per cent. 

Bulletins ranging from 8 by 12 up to 8 by 40 feet 
charge at the rate of from $1.50 to $2.00 per running 
foot. 



THE PAINTER'S ESTIMATOR 43 

CANVAS SIGNS ON FRAMES 

Three feet wide or less, 6oc. per running foot, up 
to 25 running feet. After first 25 feet charge 18c. 
per foot. If wider than three feet estimate at 20c. 
per square foot, up to 75 square feet. After first 7; 
square feet charge 15c. per square foot. For gold 
lettering charge 10 per cent, less than for similar 
work on board or metal. 

CAMPAIGN BANNERS 

For street display, style, ribbons, and portrait 
panels of canvas sewed on net, 14 by 30 feet, $1.50 
each. Or charge say 30c. per square foot. 

DRUM SIGNS 

Gold. Paint. 

Single. Pairs. Single. Pairs. 

8-inch $ 2.25 S 4.00 $ 1.05 S 2.50 

12-inch 3.00 5.00 2.25 3.75 

18-inch 3.75 7.00 2.75 5.00 

24-inch 4.00 7.50 3.00 5.75 

30-inch . • 475 9-°° 3-75 6.50 

36-inch 5.50 10.00 4.25 8.00 

42-inch 6.50 n-75 5-5° 10.00 

48-inch 7.50 14.00 6.50 11.75 

5-feet 8.50 16.00 7.00 13.50 

6-feet 10.00 8.50 

7- feet J 3-00 9.50 

8- feet 1 5.00 10.00 

9-feet 18.00 13.00 

10-feet 24.00 16.00 

Deduct 30 per cent, for lots of six or more. 

Deduct 10 per cent, for flat zinc. 

Deduct 15 per cent, if done entirely in silver. 



44 THE PAINTER'S ESTIMATOR 

Add 30 per cent, for every six inches over three 
feet in width. 

Deduct 15 per cent, for repaints. 

Add 75 per cent, for gold grounds. 

Add 30 per cent, for silver grounds. 

Estimate bracket signs, double face, same as a pair 
of drums, less 15 per cent. 

ELECTRIC SIGNS 

The cost to the advertiser for an electric sign may 
run anywhere from $100 to $10,000, according to 
skilled labor and materials used. Yet he may buy 
cheaper signs, smaller ones, made of glass with metal 
frame, and carrying several lamps inside, costing as 
little as $20. The electric sign business is distinctly 
separate from ordinary sign work, and hence I shall 
not attempt to give any prices for such work, as it 
involves the work of the electrician as well as that 
of the sign maker, and the charges are based upon 
the character of the job, the number of lamps used, 
and the amount of electricity used. The lamps are 
called sockets, and each letter will have so many of 
these lamps, costing the advertiser about 30 cents 
each, not including the shell of letter. Roughly 
speaking, the cost of an electric sign may be had by 
estimating 30 cents per socket, taking cost of shell, 
cost of background, and finally cost of putting up. 
when done. The cost of sockets, shell and background 
will give you total cost of sign, but will include a 
profit. 



THE PAINTER'S ESTIMATOR 45 

GLASS SIGNS 

Lettering in gold leaf, up to 6-in. height, per running ft. .75 

Lettering in silver, up to 6-in. height, per running ft 50 

Lettering in aluminum leaf, same as for silver. 

Lettering in gold, from 6 to 10 in., per running ft 1.00 

Lettering in gold, from 10 to 14 in. height, per run'g ft. 1.50 
Lettering in silver, 6 to 10 inches 75 

For shading add for one color 15 per cent. 

Add 10 per cent, for each additional inch in height. 

Add 25 per cent, for embossed work. 

Add 10 per cent, for blended work. 

Add 20 per cent, for gold outlining with transpar- 
ent center. 

For colored background, stippled and varnished, 
charge per square foot, extra, 10c. 

Gold striping on panel, according to width of 
stripe, charge from 8c. to 15c. per running foot. 

Silver or aluminum striping same, less 20 per cent. 

A sign painter says that laying silver leaf with 
water size, as done on glass, is worth the same as 
for g*old leaf, deducting the difference in price of leaf. 
He adds that gold lettering is worth from 10c. to a 
dollar per letter, according to amount of lettering. 
Another sign painter figures by the running foot, 
but adds that it makes the totals look big to the 
customer, hence he finds that charging 8c. per up- 
right inch and he will be satisfied, and money can be 
made at this price, he says. 

Of course, it is below the regular rate, a six-inch 
letter making 48c, but all depends upon circum- 
stances. Some work can be done at a profit at 50c. 
per foot per six-inch letter. Some charge a dollar. 

The amount of lettering to be done affects the 
charge, for where we would charge say $1.00 per five 
feet lineal we would charge only about 50c. per 100 
feet, lineal. 



46 THE PAINTER'S ESTIMATOR 

Then there are signs done on glass and by stencil, 
in which leafing is the principal material used, and 
for such work prices must be made to suit, being 
based on amount of labor and material. No set of 
prices can very well be given, in this connection. 

For other glass signs or lettering with leaf see 
under different heads, as office transoms, etc. 



GILDING ON GLASS 

Work done on windows; if done on ground floor 
increase rate by 20 per cent. 

Per Lineal Foot. Gold. Silver. 

5-inch letter, one shade or lined $ .80 $ .60 

6-inch letter, one shade or lined 90 .67 

8-inch letter, one shade or lined 1.00 .75 

10-inch letter, one shade or lined 1.30 .Sy 

4-inch or less outline, or with ground, 

per lineal foot $1.00 

For each additional shade add 20 per cent. 

For ornamental face add 30 per cent. 

For blended shade add 40 per cent. 

For each additional upright inch to letters add 15 
per cent. 

For embossed work add 25 per cent. 

For gilded outline lettering with transparent cen- 
ter add 25 per cent. 

For colored background stippled and varnished 
add 10 per cent, per square foot extra. 

For gold or silver lines around panels, § inch wide, 
10 cents per lineal foot. Up to one-half inch, per 
lineal foot, 20 cents. 

A sketch should be made for each order, which 
helps in making a correct estimate, and often secures 
a job. Draw to a scale of ^-inch to the foot. 



THE PAINTERS ESTIMATOR 47 

GLASS FASCIA PANELS, INTERIORS 

Charge per square foot $3-00 

GLASS SWING SIGNS, IN FANCY FRAMES 

Charge $3.00 per square foot, glass measure, up to 
$5. 00 per square foot. 

GLASS SWING HALL SIGNS, ONE SIDE 

On frosted glass, lettered in black or colors, same 
as swing* signs in color letter. 

LAUNDRY SIGNS 

These are board signs placed on the sidewalk. 
They are mostly done with paint lettering, but some- 
times gold or aluminum leaf is used. The prices here 
given are for both sides. For single boards charge 
as for similar lettering on signs. For lots of ten or 
more, use the following list of prices : 

Size. Paint. Gold. Aluminum 

12 by 18 inches, each $1.00 $1.50 $1-25 

14 by 20 inches, each 1.25 1.75 1.50 

16 by 24 inches, each 1.50 2.00 1.75 

18 by 30 inches, each 1.75 2.50 2.00 

20 by 36 inches, each 2.00 3.25 2.50 

24 by 36 inches, each 2.50 3.75 3.00 

24 by 48 inches, each 3.00 4.75 3.50 

OFFICE LETTERING 
FOR DOORS AND WINDOWS 

Paint or Aluminum. Gold. 

i-inch letters, each 05 .12 

2-inch letters, each 07 .15 

3-inch letters, each 09 .18 

4-inch letters, each ,10 .20 



48 THE PAINTER'S ESTIMATOR 



JAPANNED TIN SIGNS 

Size. Gold. Paint. 

Sizes up to 3 by 14 inches, one line $ .80 $ .50 

Sizes from above 3x14 to 6x18, one line 1.25 .75 

Sizes up to 10x14, two or three lines 1.50 .80 

Sizes up to 12x17, two or three lines 1.60 1.00 

Sizes up to 14x20, two or three lines 2.25 1.50 

Sizes up to 18x24, two to four lines 3.00 2.00 

Sizes up to 20x28, two to four lines 3.75 2.75 

Sizes up to 24x30, two to four lines 4.50 3.25 

Sizes up to 24x36, two to four lines 5.50 4.00 

These prices include outlining and shading, and 
are for the tin and lettering. 'Such signs are used 
mainly by physicians and dentists. Some make the 
prices for lettering with paint and aluminum 25 per 
cent, of the prices given for gold. By this method 
the prices for paint given would be increased. The 
prices given are for single sign, and where ten or 
more are ordered at one time, same reading, a dis- 
count of about 20 per cent, may be allowed. For 
lettering on aluminum leaf a discount of 20 per cent, 
may be given. 

MUSLIN SIGNS, UNMOUNTED 

Ordinary, per square yard 45 

50 or more square yards, per square yard 40 

100 or more square yards, per square yard 35 

For muslin sign mounted add 10 per cent, per lineal 
foot to above prices. 
Muslin banners for railway cars, per square yard 45 

Add $1.50 a banner for sewing and rope. 

Some charge 10c. per square foot for muslin sign 
work, which would make double the above list price. 
But this is for one square yard sign only, decreasing 
the rate as the size increases, so that a sign four 
square yards would be at rate of yc. per square foot, 



THE PAINTERS ESTIMATOR 49 

and for an area of 300 square feet the charge would 
be 5c. per square foot, or 45c. per square yard. 

Others charge by the lineal foot, same as lettering 
on wood, grading the price by the height of the let- 
ters. Colored work is charged extra, say 20 per 
cent. The same rate applies to pictorial work. For 
cut-in work add 2c. per square foot additional. You 
furnish muslin in all cases, but charge extra for 
frame, moulding, etc., for frame adding 2c. per 
square foot of sign. Banding and moulding each ic. 
per square foot of sign. 

OIL CLOTH SIGNS 

Ordinary, per square foot 15 

40 or more square feet 12 

75 or more square feet 11 

Frames additional, 3c. per square foot of sign. 
Cut-in work 2c. per square foot of sign additional. 
Banding ic. per square foot of sign additional. 
Moulding ic. per square foot of sign additional. 
Fancy background, 25 per cent, extra. 
Painting 4 before lettering, per square foot, 2c. 

Paint. Gold. 

5-inch letters, each 11 .22 

6-inch letters, each 13 .25 

7-inch letters, each 15 .30 

8-inch letters, each 18 .35 

Ordinary one-stroke letters in paint, each 5c. 

Shading or other fancy work, add 20 per cent. 

Office transoms, gold, numbers, each numeral up 
to 99, 25c. 

Each numeral after 99, gold, 20c. 

Numerals in any paint color, each, 50 per cent, 
less than for gold. Silver or aluminum same as paint. 
Estimates are based on sizes up to five inches. 



50 THE PAINTERS ESTIMATOR 

POSTERS, HAND-PAINTED 

4-sheet S i .00 

8-sheet 1 .25 

12-sheet 1 .50 

16-sheet , 1 .65 

20-sheet 1 .85 

24-sheet , 2.20 

32-sheet 2.60 

36-sheet . 

z<o-sheet 3.35 

15 per cent, discount for dozen or more. For or- 
namental work, add 25 per cent. 



REAL ESTATE SIGN BOARDS 

Real Estate or For Sale boards may be either hand- 
painted or stencilled, and the price must be made ac- 
cordingly. Also, the charge will be much more for 
one or few than for quantities. Some charge a dollar 
for a two by three feet board, in lots of 25 or less. 
In 100 lots they charge 90 cents each. For all sizes 
larger than two by three feet the charge is per square 
foot, 1 cents, with a reduction of one cent per square 
foot for lots of 25. Stencilled signs may be done for 
about one-fourth the price of hand-painted signs. 
That is, they may be sold at that rate. 

Prices vary on this kind of work in different cities, 
and even in different shops in a city. Where sore 
charge 1 cents per square foot for a certain size of 
sign, others will charge twice as much. That is, they 
claim to do so, but competition being keen, you may be 
sure that the price is not infrequently cut down. 

Real estate signs painted white and cut-in with 
black may be done cheaper than black letters one white 
ground signs. Where more than one color is used an 
extra charge must be made. The aiea of a sign board 



THE PAINTER'S ESTIMATOR 51 

has to do with the price. Thus, a sign containing say 
ten square feet will cost a third more per square foot 
than one having an area of ioo square feet. 

PRICE LIST 

10 by 12 inches, in lots of 25 or more, each 50 

in lots of less than 25, each 60 

for a single one 90 

12 by 18 inches, in lots of 25 or more, each 75 

in lots of less than 25, each 85 

for a single one 1.00 

12 by 24 inches, in lots of 25 or more, each 1.00 

in lots of less than 25, each 1.15 

for a single one 1.50 

24 by 36 inches, in lots of 25 or more, each 2.00 

in lots of less than 25, each 2.25 

for a single one 2.50 

36 by 48 inches, in lots of 25 or more, each 3.00 

in lots of less than 25, each 3.25 

for a single one 3.75 

The above includes the boards and two coats of the 
best white lead paint; it is for best work. Discount 
may be made to suit circumstances — a statement always 
well to make when speaking of prices. Rather than 
lose a desirable job or customer one may well cut his 
prices. 

SWING SIGNS, PLAIN, TIN OR ZINC 
BOTH SIDES 

Gold. Paint. 

6 by 12 inches $2.00 $1.50 

10 by 14 inches 3.00 2.00 

12 by 18 inches 3.25 2.25 

14 by 20 inches 3.50 2.75 

18 by 24 inches 4-5° 3 00 

24 by 30 inches 7.00 5.00 

24 by 36 inches 8.50 5.75 

For japanned tin add 20 per cent. If on board, add 

15 per cent. If fancy shape, add 40 per cent. If on 
one side only deduct one-third. 



52 THE PAINTER'S ESTIMATOR 



SILK OR SATIN LETTERING 

Gold, per lineal foot $1.00 

Silver, per lineal foot 75 

Color or bronze, per lineal foot 50 

SHOW CARDS 

Small size tickets, per dozen 

Medium size tickets, per dozen 

Large size tickets, per dozen 

Quarter-size show cards 

Half-size show cards 

Three-quarter size show cards 

Full size show cards 



50 
60 

75 
20 

45 
60 

•75 

Above prices are for plain, quick work. For better 

work use the following list: 

Quarter-size show card, each 

Half-size show card, each 

Three-quarter size show card, each 

Full size show card, each 

One and one-half size show card, each 1 

Double size show card, each 1 



30 

50 
70 
90 
3° 
65 



Add for fine lining, striping, scroll work, etc., from 
10 to 15 per cent. For lots of one dozen allow a dis- 
count of 20 per cent. For fancy color card add 5 per 
cent. 

TIN STAIR STRIPS 

Done in gold or silver, per lineal foot 50 

Done in two colors, per lineal foot 30 

TRANSOMS, HOUSE NUMBERS ON 

Gold or Silver. Paint. 

Up to 8 inches high $2.50 $1.50 

If done in the shop 2.00 1.00 

Three to five numbers, one trip 1.75 .75 

Five or more numbers, one trip 1.65 .60 



THE PAINTER'S ESTIMATOR 53 

WALL SIGNS 

These signs may be on either brick or weather- 
boarding; prices are the same. If brick wall has to be 
first-coated, add per square foot from one to three 
cents, according to condition of wall, and quality of 
paint used. For stacks or other high and difficult 
places, add two cents per square foot. For orna- 
mental backgrounds add 15 to 25 per cent., according to 
kind and amount of work. Estimates are based on 
square feet of surface painted and lettered. Prices 
range from ten cents per square foot up to 100 square 
feet, to five cents per square foot for 500 square feet or 
more. This is for ordinary plain lettering; more or 
less fancy lettering, with colors, add from one to two 
cents per square foot. For extra coat of paint add 
one cent per square foot. 

WAGON LETTERING 

Aluminum. 

Plain, one color, per lineal foot 25 

Same, with one shading 35 

Same, with ornamental work ...... .45 

The above prices are for letters up to five inches. 
For every inch above five add two cents. Pictorial or 
other fancy or ornamental work may be charged for at 
the rate of 1.00 an hour. 

WOVEN WIRE SIGNS 

The charge for the wire mesh sign ready for the let- 
ters is about, per square foot , 25 

Add for painting mesh, if required, per square foot 08 

Charge for erection of sign, per square foot 35 

Galvanized iron letters and attaching same, per verti- 
cal inch 10 

Gilding galvanized iron letters, per vertical inch 15 

Wooden letters and attaching same, per vertical inch. . . .08 



* old. 


Paint. 


.40 


.20 


•50 
.60 


•30 
.40 



54 THE PAINTERS ESTIMATOR 

Gilding wooden letters, vertical inch 10 

Aluminum leafing 08 

WINDOW SHADE LETTERING 

Gold, per lineal foot 50 

Silver, per lineal foot 40 

Paint, per lineal foot 35 

Add 10 per cent, for shading. 







THE PAINTERS ESTIMATOR 57 

PART SECOND 

The Painter's Business Book 



BOOK-KEEPING 



Book-keeping is simply writing down what one 
cannot carry in the mind. There are several modern 
methods of book-keeping, and for the average paint- 
er in business it would seem best to adopt a system 
of blanks, time records, etc., which makes the labor 
of book-keeping very much less than is required by 
the old way. Still, for any who prefer the old way, 
books ruled and known as Ledger, Day and Record, 
may be used, and are in every respect satisfactory. 
Only be sure to observe some system in keeping 
your accounts, so that you can turn to any account 
and in a moment know exactly its terms. 

CLASSIFIED RECORD OF MATERIAL, WAGES 
AND EXPENSE 

Take a small blank book, one with lines ruled hori- 
zontally, pages about the size of a sheet of type- 
writer paper, or 8^ by n inches. With red ink rule 
vertically lines making seven divisions, or columns, 
with head spaces in which place the items, as folio 

Name ! Date | Total | Material J Supplies | Expense | Wages 

We will call this the Purchase Journal, which 
name may be marked on the blank book. At the end 
of a month take all merchandise bills for the month 



58 THE PAINTER'S ESTIMATOR 

and enter them in the purchase journal. Under 
heading Name enter name of party goods are from. 
Give date of the bill under the next heading. Give 
amount of bill in the third column. In the fourth 
column the bills or parts of bills are for materials. 
In the fifth column enter supplies bought, such as 
tools., etc. In the next column enter bills for miscel- 
laneous things, such as rent, printing, advertising, 
and so on. In the last column enter wages. At the 
foot of each column, add up total of column, and you 
will then have a correct presentation of all the busi- 
ness of the month, which may be seen at a glance. 

FILING AND CHECKING INVOICES 

Have- a certain place or container for unpaid bills. 
Those small pasteboard drawers that are used in 
offices may be used for this purpose, though any 
convenient pasteboard box, or large manila envelope, 
properly and plainly marked, are good. But have 
a certain place for such things, so that you may be 
able to lay your hands on them in the dark, if needs 
be. When you pay a bill be sure to get a receipt, 
and file this receipt in a place as suggested for the 
bills unpaid. 

Letter files, an indexed receptacle in book form, 
and costing 25 cents, are very useful for holding bills 
and receipts, as by means of the index letter you can 
turn to any desired invoice in a moment, and it also 
keeps all bills or receipts from one firm together, 
whereas, if kept in a box you will have to sort over 
all to get the one you want. 

Start a new file each year. Look over all letters 
and invoices and any that are of no more use de- 
stroy, and thus simplify the contents of the file. 
Mark the letter file book with year. 



THE PAINTER'S ESTIMATOR 59 

Check the invoices carefully, and compare with 
previous invoices from same firm, to detect possible 
errors, which are liable to occur even with a syste- 
matic clerk. 

KEEP RECORD OF SALES 

To record sales, have a duplicate set of bill heads, 
and use carbon tracing paper between, making out 
the bill with indelible pencil with sharp point, which 
will give an exact copy for your own use. Or cut 
some blank paper to the size of your bill head, and 
trace duplicate on that. At the end of the month 
fasten all these duplicate bills together by means of 
a small brass fastener; separate the bills month by 
month by means of a thin sheet of pasteboard be- 
tween. 

If necessary to make any allowance during the 
month, give the customer a memorandum of credit 
on one of your bill heads, but copy it on paper of 
some distinct color, so that it can be recognized at 
once as a credit slip and not a regular bill. 

The total of all duplicate bills for the month, less 
all duplicate credit memos, will show net amount of 
your sales for the month. 

RENDERING BILLS 

The proper time to render a bill for work done or 
goods delivered is when the transaction is complete ; 
that is, when the work is finished, and when the 
goods have been delivered. Never delay an hour 
after this. The customer wants his bill, that he may 
look it over to see if it is right. You want your 
money at the earliest possible date. Much trouble, 
even lawsuits, has resulted from long delayed bills, 



60 THE PAINTER'S ESTIMATOR 

and where some errors occurred that caused the 
trouble they might easily have been adjusted if done 
when the transaction of work or goods was fresh 
in mind. My own experience has been that the only 
time that I have had difficulty in settling an account 
was when I did not receive the bill for a long time 
after it was due. 

if you think your customer would be offended by 
a prompt bill, then make a memorandum on it, stat- 
ing that it is a statement of the account, and not a 
demand for settlement. This is not usually done by 
business houses until some time after the bill, of the 
first of the month, has been sent, and the "State - 
ment" is really a little reminder that the bill is past 
due. But do not let a bill get too old, for the fresher 
it is the easier it is to collect, and vice versa. Nor 
forget to return a courteous acknowledgement when 
the bill is paid. Show that you appreciate the pay- 
ment, as of course you do. Little courtesies in busi- 
ness are invaluable. 

It is the experience of painters that when they buy 
a bill of goods from the paint or varnish house they 
get an invoice of same at once, and this is also a bill, 
payable within a stated time. If you are slow at pay- 
ing time you will soon get a gentle reminder of the 
fact. Do the same when doing work for a customer; 
your labor and running expenses, also material when 
you furnish that, are goods delivered, and should be 
paid for within a certain time. 

THE MATTER OF CREDITS 

Credits involve your own payment of bills. Avoid 
all debts possible. It is hard to do business without 
seeking and using credit, however, and here is a 
rock that has shipwrecked many a painter. Credits 
are easy, a master painter can get all the credit he 



THE PAINTER'S ESTIMATOR 61 

wants, and it looks good to him, as a rule. But be 
prompt in payment of bills. Thirty, sixty, ninety 
days, they roll around surprisingly quick, and are 
apt to find you unprepared for payment. It is better 
to buy and pay as you go. If you have a contract 
on hand, involving considerable material, and pay- 
ments are to be made to the men every week, you 
want to figure out how to meet all demands prompt- 
ly. It might be better to establish an account with 
a bank, and borrow money at six per cent., than to 
accept goods on credit, for cash certainly will buy 
much cheaper than credit. In order to be able to 
borrow at the bank one must have property sufficient 
to safeguard the bank, or some acceptable endorser, 
and there are places where the character of the man 
and his business habits insure for him a reasonable 
amount of credit at his local bank. For a bank does 
not regard property that a man has so much as the 
man himself, for it is a fact that some monied men 
are the hardest to get payments out of. 

Getting easy credit yourself may induce you to 
extend the same to a customer, and it is all wrong. 
In case of a contract there should be periods during 
the performance of the work when you should re- 
ceive a certain amount of the contract price. If this 
is not stipulated in the contract your customer will 
likely be offended if you ask him for money before 
the work is done. A man will have his house painted, 
and in making a bargain with the painter will say 
nothing about when the amount is to be paid, for he 
will think, only too correctly, that the painter can 
be stood off for an indefinite time after the work is 
done. The amount may be large. The cost of the 
labor on the job is say 54 per cent., and the cost of 
material or stock is say 26 per cent., and practically 
20 per cent, is expense, half of which is cash. Of 



€2 THE PAINTER'S ESTIMATOR 

your business outgo 64 per cent, is strictly cash. 
Looking* at the matter in this light it is easily seen 
that you cannot afford to give long credit. 

Look into the financial standing of a man before 
you take his work, if you are not acquainted with 
him. You can of course place a mechanic's lien on 
a new building, and the same may hold good as a 
bluff on an old house, but it takes money to get 
judgment, with delays, trouble and loss of time be- 
fore you can collect the money, saying that you can 
collect it at all. The contractor or owner may set 
up the defence that the work is not tip to contract, 
or according" to specifications, this coming usually 
a long time after the work has been finished. It is 
a mighty good rule to keep out of law, and it is bet- 
ter to turn a doubtful order down than to take any 
chances with it. 

There is no reason why a painter should not ask 
a prospective customer for references than for the 
merchant or material man to ask it of the painter. 
An instalment house, for instance, will look up your 
standing, and even if thev make a mistake they can 
recover their goods ; but the painter cannot recover 
when his goods consists largely of time and labor 
expended. 

Have printed on all your bills heads the words, 
'Terms Cash.'' This will give the customer a chance 
to arrange terms, to accept the work and pay the 
bill, or ask for an extension of time, as a favor, or 
to do his fault-finding right then and there. Also 
when the job is done send a statement, and with * : t a 
note saying that if there is anything wrong with the 
work it must be pointed out now, for rectification, 
or no allowance will be made after so many days ; 
merchants follow this plan when shipping goods. 

It is the ambit : on of the master painter to secure 



THE PAINTER'S ESTIMATOR 63 

all the work possible, but he should take none that 
is not perfectly safe and good in every way. Then 
collect closely and discount your bills. 

TRADE DISCOUNTS 

The commonly accepted definition of the term 
''discount" is that it is interest paid in advance — a 
deduction of interest made by a banker or money- 
lender at the time the loan is made ; a reduction or 
abatement allowed by the seller to the buyer, and is 
applied in a variety of ways, its use depending- largely 
upon the nature of the business to which it relates. 
Discount is usually expressed at a rate per cent. 

There are two kinds of discount, bank discount 
and trade discount. Bank discount is the interest on 
a note or other debt, for the unexpired term with 
Three days added, before it is due, and because it is 
deducted from the face value of the note or debt, it is 
called discount, and this is what is generally under- 
stood by the term discount. Trade discount is an 
amount written off the nominal or list price of goods, 
and is usually shown on the invoice, and does not 
depend in any way upon the date of payment. 

Discount, as far as our purpose is concerned, may 
be divided into four classes : Jobbers' discount, dis- 
count off the catalogue or price list, discount for 
quality, discount for cash or spot dating. 

Jobbers' discount may be defined as a discount al- 
lowed by the manufacturer to the selling agent, and 
is outside the usual rate to the retailer. 

Discount off the catalogue or list price is the regu- 
lar discount allowed by the seller to the buyer, and 
should, in my opinion, be the gross profit to the re- 
tailer from his sale to his customer, but as this dis- 



64 THE PAINTER'S ESTIMATOR 

count varies so much, it does not necessarily follow 
that it is so. 

Cash discount is a further allowance for prepay- 
ment before maturity. 

Discounts off the catalogue or list price seem to 
be fearfully and wonderfully made, ranging from I 
or 2 per cent, to 85, 10 and 10 off, so that it is very 
evident that the amount of discount depends greatly 
on how high or low the article in question may be 
listed. 

The method usually adopted by the manufacturer 
or merchant is to issue a printed price list of their 
goods and wares, but giving a different rate of dis- 
count to the wholesale jobber or retailer, so that the 
one price list will do all the different branches of the 
trade, and the rate is subject to the condition of the 
market and the commercial standing of the custo- 
mer. For all the fluctuations in the market value it 
would be very inconvenient, if not impossible, to 
issue a new price list, hence the market price is 
reached by giving discounts from the list price. As 
no two manufacturers or supply houses, to my know- 
ledge, use the same list, their rate of discount usually 
differs, although the result or net price may be prac- 
tically the same. Take the discount, say, on brushes 
as an example ; while the discount of one maker may 
be 70 per cent, and 10 per cent., another one has a 
discount of, say, 50 per cent. The brush with a dis- 
count of 50 per cent, may be the cheapest article 
owing to the difference in the list ; or, suppose the 
regular discount off an article listed at $1.00 is 40 
per cent, in one price list, and is listed at 90c. in an- 
other, with 33 1/3 per cent, off, the result is the same, 
both net prices being 60c, and if it is desired to give 
a further reduction, this is usually done by an extra 
discount, and then we would have, say, 40 per cent. 



THE PAINTER'S ESTIMATOR 65 

and 10 off, and if on account of buying in large quan- 
tities, we would then have 40 and 10 and 10 off; this 
on the face of it looks to be a discount of 60 per 
cent., but such is not the case. The reason of this is 
that all the discounts are not computed on the list 
price, but only on the sum remaining after the pre- 
vious discount has been deducted, and is in reality 
very little more than 50 per cent. One article listed 
at 90c. with 33 1/3 and 10 and 10 off, would cost just 
the same as the article listed at $1.00 with 40 and 10 
and 10 off; but if the 90c. article had the same dis- 
count as the one at $1.00, viz., 40 per cent., it would 
be the same price with 40 and 10 and 10 off as the 
$1.00 one with 40 and 10 and 10 off. 

Discount for quality is usually expressed by giving 
a further rate of discount, and to those who can take 
advantage of this discount, will find it both profitable 
to themselves and to the seller, and of course varies 
in amount according to the margin of profit and to 
the quantity bought. 

Cash discount usually runs at the rate of 1 per 
cent, per month for prepayment before maturity, al- 
though the prevailing rate seems to be 3 per cent. 
off 30 days, with sometimes an additional rate for 10 
days. The benefit of this discount is apparent to all 
practical business men, and I cannot too strongly 
commend it to your earnest consideration, and I am 
sure if the manufacturers or supply men would give 
their opinion on this question, they would all strong- 
ly advise taking advantage of this discount. 

The proper proportion of this discount is impos- 
sible to fix, on account of the fluctuation of market 
values, owing to the change in the price of material 
or labor, or financial stringency, so that the discount 
of to-day may be different from that of to-morrow, 
it being — as I have previously stated — almost impos- 



66 THE PAINTER'S ESTIMATOR 

sible for the manufacturer to issue a price list every 
time the market changes. For this reason alone, the 
rate of discount must necessarily change with every 
variation* in the market value of material or labor, 
so that we can have no fixed rate of discount. 

Take the price list of sheet glass as an example. I 
think you will find that the list has remained the 
same for the last twenty years or thereabouts, but 
the discount has varied from as low as 25 per cent, 
off to 50 per cent, or more. The proportionate rate 
of discount or profit should probably be larger on 
glass, on account of risk in handling, than perhaps 
any other article in our trade. 

The discount on brushes used in our business 
should also be large on account of the very high 
price list issued by most manufacturers, a brush that 
costs us about $1.25 net being listed at about $40 to 
$50 a dozen. 

As nearly all our colors, oils, turpentine, varnishes, 
white lead, putty, etc., are bought at a net price, the 
only discount we can look for arc quantity and short 
dating. 

FIXED CHARGES 

In these days of keen competition, the item of 
fixed charges plays a very important part in every 
business, and unless a man knows what his fixed 
charges amount to, he is figuring in the dark, be- 
cause these charges must be provided for in making 
up the cost of work, just as much as wages and 
material. 

In dealing with these different items of fixed 
charges, I have classified them under five headings, 
viz. : (1) Rent and taxes ; (2) Salaries, office help, etc. ; 
(3) Cartage; (4) Heat, light and telephone; (5) In- 
surance, fire and accident. 



THE PAINTER'S ESTIMATOR 67 

Rent. — The first to be considered is rent. It mat- 
ters not how small the business or how little space is 
required for carrying" it on, an amount of money has 
to be paid out for rent, which must be charged 
against the business. Some men in our line of trade, 
who own their dwellings, carry on their business in 
shops in the rear, but even where this is done a 
certain amount should be charged against the busi- 
ness for the space occupied. If the proprietor of the 
business is fortunate enough to own his own prem- 
ises, then the rent item would be in the form of in- 
terest on investment, taxes, etc., but in any case it 
must be considered as a fixed charge. 

Office Help. — Xext after rent comes salaries 
and office help (wages of workmen of course must 
not be confused with this item). This covers simply 
what might be termed the non-producers connected 
with the business, such as proprietor's drawings, 
book-keeping, stenographer, and any other office as- 
sistance required. Some may say, we do not keep a 
book-keeper, we only have a man come in once in a 
while to write up our books and make out our ac- 
counts, but even if this system is adopted, it comes 
under the heading of fixed expenses, and must be con- 
sidered. 

Cartage. — Then comes cartage, which is no small 
item, as every painter knows. If anyone will look 
over his books for the past year and figure up what 
this one item amounts to, he will surely be surprised, 
I venture to say that there are many painters who 
are paying out considerably more than a thousand 
dollars per year for cartage alone. 

Heatixg axd Lightixg. — These items may not 
be very important to some, but to others it is quite 
an expense. The man with a small shop does not 
require much of either, but the man with more ex- 



68 THE PAINTER'S ESTIMATOR 

pensive premises, who perhaps keeps men constantly 
employed in the shop, painting and glazing sash and 
various other kinds of work, has to provide for a 
considerable expenditure. 

Insurance. — This is a charge that affects all of us, 
and while there is apparently nothing to show for the 
outlay, no one will dispute the wisdom of keeping 
stock and buildings covered up to the required 
amount, as we cannot tell what day a lire is apt to 
destroy our buildings and stock. In the more con- 
gested districts in our cities, the rate is necessarily 
higher than in the outlying parts, but no matter what 
the rate is, a healthy business can quite afford to 
carry a full line of fire insurance. Under this head- 
ing also comes accident insurance covering work- 
men. Those of us who have men working on high 
scaffolds or other hazardous places, will quite realize 
the importance of being covered against loss in case 
of accident or perhaps even death of an employe. 
Many employers connected with the building trades 
have suffered heavy financial loss through not having 
their employes insured against accident, and yet 
these same employers would laugh at the idea of not 
carrying any fire insurance, but it appears to me that 
one is equally as important as the other. 

Now, in conclusion, a natural question might be 
asked : What does all this amount to, and to what 
extent does it affect me? Let us take, for example, 
the man who is doing a business of one hundred 
thousand dollars per year, and I think the following 
figures are approximately correct : 

Rent and taxes I per cent, or $1000 

Salaries 5 per cent, or 5000 

Cartage 1 per cent, or 1000 

Heat and Light 1/5 of 1 per cent, or 200 

Insurance 3/4 of 1 per cent, or 750 

Say 8 per cent, or $7950 



THE PAINTER'S ESTIMATOR 69 

From the foregoing figures it will therefore be 
seen that the fixed charges on a painting and decor- 
ating" business of $100,000 amounts to 8 per cent., 
or $7,950 on the turnover. 

I have taken the amount of $ioo,oco chiefly for 
the sake of easy comparison, but at the same time I 
have little doubt there are many who have exceeded 
this amount, and I feel satisfied that those who have 
done so will find the proportion slightly decreased, 
while if those who have done a considerably smaller 
business will look carefully and impartially into their 
books, they will find that the percentage would be 
considerably increased, and that the smaller the busi- 
ness, the higher the percentage of fixed charges. Of 
course local conditions will somewhat affect these 
fig-ures. 

It must also be remembered that these figures 
would hardly apply to a purely decorative business, 
but have been compiled on results from what might 
be called the average painting and decorative busi- 
ness. 

The following table shows a percentage of the 
fixed charges for one year, by a large contracting 
firm of painters, the volume of the business amount- 
ing to $129,589.92: 

Per Cent. 

Labor 51.55 

Shop salary 1.19 

Office salary 5.95 

Teamsters' salary 1.14 

Total labor of all kinds 59.83 

Barn expense 53 

Shop expense 7 2 

Insurance (fire and liability) 2.75 

Stationery 13 

Rent " 46 

Legal 12 

Telephone 2I 



70 THE PAINTER'S ESTIMATOR 

Per Cent. 

Carfare 26 

Postage 09 

Brushes 1.24 

Sponges - .98 

Oil Colors 6.07 

Dry Colors 2.25 

Varnish 2.74 

All liquids (except varnish) 5.76 

Wall paper 4.59 

All other merchandise 2.02 

Interest on inventory 3.95 

9475 

Profit 5.25 

5.2 5 per cent, equals $6,803.47 100 

SUGGESTIONS ON FIGURING COSTS 

1. Charge interest on the net amount of your total 
investment at the beginning of your business year, 
exclusive of real estate. 

2. Charge rental on all real estate or buildings 
owned by you and used in your business at a rate 
equal to that which you would receive if renting or 
leasing it to others. 

3. Charge in addition to what you pay for hired 
help an amount equal to what your services would 
be worth to others. Also treat in like manner the 
services of any member of your family employed in 
the business but not on your regular pay-roll. 

4. Charge depreciation on all goods carried over 
on which you may have to make a less price because 
of change in style, damage or any other cause. 

5. Charge depreciation on buildings, tools, fix- 
tures, or anything else suffering from age or wear 
and tear. 

6. Charge amounts donated or subscriptions paid. 

7. Charge all fixed expenses, such as taxes, insur- 
ance, water, light, fuel, &c. 



THE PAINTER'S ESTIMATOR 71 

8. Charge all incidental expenses, such as drayage, 
postage, office supplies, livery or expense of horses 
and wagons, telegrams and 'phones, advertising, can- 
vassing, &c. 

9. Charge losses of every character including 
goods stolen or sent out and not charged, allowances 
made customers, bad debts. &c. 

10. Charge collection expense. 

11. Charge any other expense not enumerated 
above. 

12. When you have ascertained what the sum of 
all the foregoing items amounts to prove it by your 
books and you will have your total expense for the 
year. Then divide this figure by the total of your 
sales and it will show the per cent, which it lias cost 
you to do business. 

13. Take this per cent, and deduct it from the 
price of any article you have sold. Then subtract 
from the remainder what it cost you (invoice price 
and freight) and the result will show your net profit 
or loss on the article. 

14. Go over the selling prices of the various arti- 
cles you handle and see where you stand as to pro- 
fits. Then get busy in putting your selling figures 
on a profitable basis, and talk it over with your com- 
petitor as well. 

JOURNEYMENS' TIME REPORTS 

Many different forms are in use for time reports, 
but in the main they are the same, being intended 
to show by the workman himself where he worked 
and what he did on any particular working day of the 
week. Some shops use a postal card form, which 
may be mailed to the shop daily, or delivered by the 
workman himself should he have occasion to go to 



72 THE PAINTER'S ESTIMATOR 

the shop at the end of the day's work. This is very 
handy in case the work is at quite a distance from 
the shop. The shop pays for the cards and mailing. 
Six are placed for each man on the job, in the fore- 
man's envelope, when the job is out of town, and the 
cards being addressed to the shop, the workman sim- 
ply notes down what he did that day, detailing 
exactly all the work he was engaged in during the 
day. He gives location of work, and number of 
hours he made. This card must be mailed that even- 
ing, or not later than early the next morning. A 
printed note at bottom of card may read thus: "Pay 
for this day will be withheld if time is not filled in 
correctly." The workman also fills in with his name 
and his home address, and date in full. 

This makes an accurate time report for one day; 
accurate if no errors have been made, and which 
would likely be discovered some time by the end of 
the week. On account of the notice as to correct 
rendering of time the painter is apt to be careful in 
filling out his card. 

Where weekly time reports arc used they should 
be in the hands of the book-keeper at the shop by 
not later than the morning of pay day, say before 8 
A. M. The boss or superintendent should examine 
the time cards carefully and compare with the slip 
furnished by the foreman in charge of the job. This 
will give the book-keeper time to have the work- 
man's pay in his envelope in time for its payment. 
The pay envelopes are to be addressed to the men 
for whom they are intended, each envelope bearing 
the name of the man entitled to receive it. The en- 
velopes can be delivered to the foreman of the job 
on the afternoon of the pay day, whether this be Sat- 
urday or Monday. Some pay Friday afternoon. 



THE PAINTER'S ESTIMATOR 73 

With this work out of the way the shop may be 
closed up early on pay day. 

Some shops keep the weekly time reports on small 
pocket-size books, which are easily lost and never 
entirely satisfactory. Better have a larger book, one 
that will hold the reports for several years, say from 
two to more, according to size of business. These 
records will be very useful and interesting in com- 
paring one season with another. Also, it enables 
you to look up any men who may have been em- 
ployed but a short .time. 

The card index s^^stem for keeping the time as 
well as material records of each job, with provision 
for entering contract price, and total net cost, as well 
as the percentage for overhead expenses and the 
profit and loss, is to be preferred, it will be easiest 
referred to in future years, when bids for repainting 
are asked. And it would be well to enter on the 
backs of the cards the name of the foreman in charge 
of that job, as well as any special features that have 
lessened or increased the cost of the work. 

ESTIMATES AND COSTS 

Very satisfactory and definite forms of estimating 
have come into common use, yet circumstances vary- 
so that eternal vigilance is necessary to prevent oc- 
casional losses. Some shops have adopted blanks 
on which the estimate is made up in detail, and which 
can later be compared with the books to verify the 
judgment of the firm as to the stock and labor con- 
sumed. Such blanks can also contain such other 
information as may be necessary to record, and yet 
which cannot be shown on the books. 

The matter of submitting estimates is of especial 
importance, and no work is too small to receive 



74 THE PAINTER'S ESTIMATOR 

other than careful attention. The use of duplicate 
estimate blanks has been adopted, and this has done 
much to impress customers with our safer business 
principles, and also has done much to prevent those 
former misunderstandings that left a worse feeling 
than open disagreements, and all estimate blanks 
should be filed under an index. 

THE CONTRACT FORM 

One of the simplest and best printed forms is that 
in use by the Society of Master House Painters & 
Decorators of Massachusetts, and it is simply dupli- 
cate sheets 4 by 6h inches, tablet form, with alter- 
nate white and yellow pages. A carbon paper is 
placed between, so that duplicates are produced. 
The white paper, showing the pencil writing, is given 
to the customer, while the yellow slip, showing the 
carbon tracing, is retained. The slips have printed 
on them the following: 

' k Hereby agree to perform 

the work specified for the amount agreed upon." 

Following which is a written description of the 
work in detail, with date also. 

In company with this record comes the workman's 
time report, and in which he will give not only time, 
but in some forms gives also the materials he used, 
so that it may be used in checking up your cost ac- 
count of material used. 

THE COST SHEET 

Have a sheet of ruled white paper, of size 8 J- by 
j 4 inches, and at the top write name of customer, 
date, amount of contract, and date of estimate. The 
first charges on the sheet are cartage, fares and tele- 
phone. Then comes each man's time for the day. 



THE PAINTER'S ESTIMATOR 75 

For extra work use a separate sheet and pin it to 
the first. A sample of such a cost sheet is herewith 
given. The cost of running the business is not 
shown, as that will vary in different shops : 

COST SHEET 

MR. THOMAS S. STEWART, 

411 W. Smith St., City. 

Estimate of Nov. 10, 191 1, §150.00 

191 1. Days. Hours. Amount. 

Nov. 15 Cartage, $2.00 

Carfares, 1.00 

16 Jones, etc., etc., 1 3.00 

And so on to the end of the job, noting each man's 
work, what he did, number of hours and days, carry- 
ing amount to last column, and at end count up days, 
hours and amount. At bottom of sheet have this : 

Estimate, $150.00 
Cost, 47.65 



$102.35 
MATERIAL SHEET 

For charging materials a yellow slip is used, enter- 
ing daily reports on same of materials used on the 
job and cost thereof. The use of tools should be 
added to the cost sheet, being part of cost of doing 
the work. File away these sheets for future refer- 
ence. Handy in case you have to do the same or 
similar work again. Here is a sample of the material 
sheet. The heading is exactly the same as for the 
cost sheet, only the items differing, as follows : 



76 THE PAINTER'S ESTIMATOR 



1911. 








Nov. 15 


White lead, 


100 lbs. 


$7.00 




Linseed oil, 


10 gals. 


9.00 




Turpentine, 


5 gals. 


3-50 




Whiting, 


20 lbs. 


•30 




Ochre in oil, 


10 lbs. 


.80 




Raw umber in oil, 


2 lbs. 


.22 




Burnt umber in oil, 


2 lbs. 


.22 




Raw sienna in oil, 


2 lbs. 


.22 




Dry colors, 


5 lbs. 


75 




$22.31 




Returned, 




"5 




$21.16 


Total 


labor of all kinds 




59-83 



TAKING AND FILING ORDERS 

The card system is the simplest and about the best 
for the purpose of keeping account of orders that 
we know of. When an order is received it is record- 
ed on a small card, and this card is filed in a box 
made and kept for the purpose. The "live" orders 
are kept in the front part of the box, while the com- 
pleted or cancelled orders are indexed in the back 
part of the box. In this way you have the work 
before you, and do not have to turn over pages of a 
book, with chances of overlooking some old order 
that may be among the cancelled ones. The cards 
also prove handy many times in deciding questions 
long after the details of the work have escaped your 
memory. At the same time never destroy the origi- 
nal order of the customer; keep them in a special 
case. 



THE PAINTER'S ESTIMATOR 77 

ESTIMATE FORM 

Here is a suggestion for an estimate form, one 
that is in actual use. This estimate when signed be- 
comes a contract. The paper may be about 5 by 8 
inches : 

C. C. PRICE 
Painter and Decorator 

Lincoln, Neb., 

An estimate for 



EXTERIOR WORK $ c. 

Coats on 

Coats on 

Coats on 

The surface to be put in proper condition 



before painting. Paint to be made to suit 
conditions with strictly pure white lead or 
zinc, pure linseed oil, turpentine, turpentine 
driers, and pure tinting colors. Each coat to 
be well brushed out and allowed to dry thor- 
oughly before the next coat is applied. 

INSIDE WORK $ 



Total, 
Terms cash on completion of work. 

The above Estimate is accepted and you are au- 
thorized to proceed with the work. 

191 1 



78 THE PAINTER'S ESTIMATOR 

THE INVOICE OR STOCK BOOK 

The invoice or stock book will prove its value 
many times, particularly at the end of the season. 
ll can be used in all the ways of thorough book- 
keeping or simply as a record of date, amount and 
price of stock purchased. In connection with the 
time book and expense account it will give a fairly 
accurate resume of the serious end of the season's 
business. Some shops have adopted a debit and 
credit system in the invoice book, wherein they 
claim to be able at a glance to take account of stock. 
This method may also prove advantageous in cases 
where journeymen have easy access to stock or ma- 
terials, and may, perhaps, prove a check oil the per- 
sonal ambitions of some who desire the swift accu- 
mulation of worldly goods. 

THE GRAINER TO THE TRADE 

It is suggested that grainers-to-the-trade, or those 
who do the graining for master painters, should have 
some printed postals something like the following: 

'Phone - 

WILLIAM E. WALL 
Grainer to the Trade 

Where to Work 

Kind of Work 

Remarks 

Xame 

Address ~ 



THE PAINTERS ESTIMATOR 79 

A few of these cards may be left with each painter 
for whom you work, and when he has a job for you 
he will fill out a card and mail it to you. You should 
have your name and address printed on the address 
side, of course. The telephone may be used, but the 
card comes in where the telephone may not be in 
use. The card is also handy for filing away for record. 

SHOP MANAGEMENT 

Shop Rules. — Some Time Reports have printed 
on the back a set of Shop Rules, and the following 
is a fair sample of such, being the "Uniform Shop 
Rules" adopted by the Master Painters' & Decora- 
tors' Association of Boston, Mass. : 

i. All men must supply themselves with putty 
knife, dust brush, and slippers for inside work; also 
with clean white overalls once a week. 

2. A set of brushes will be furnished to each man, 
who will be held responsible for them on leaving the 
shop. They must be returned before last payment 
is made. 

3. Working part of noon hour is forbidden except 
by permission. 

4. No smoking permitted on any of our work. 

5. Men will be held responsible for all their work. 

6. All men are expected to be neat in their ap- 
pearance, as well as in their work, and courteous to 
all our patrons. 

7. When w r orking around window on both inside 
and outside strict attention must be paid to keeping 
the glass clean. 

8. When working on scaffolds or ladders, examine 
everything to see that all is safe before venturing 
on same. If any ladders, falls, or other tools are 



80 THE PAINTERS ESTIMATOR 

found defective, they must not be used, and the same 
must be reported at once to the office. 

9. All men are forbidden to use bath rooms or 
throw waste water in sinks on any job where they 
may be working in any way, shape or manner, 
whether the house is occupied or not. 

10. New brushes must not be left in water over 
night. 

11. Strict account must be given of all stocks 
taken from the shop. 

12. Each man must render an account of time for 
each day, on Time Sheet, giving a separate account 
for each job. 

13. Be prompt, do your work well and only as di- 
rected. All suggestions will come from the foreman 
of the job, or the man in charge. 

14. Keep your paint pots clean, and take good 
care of your brushes and stock. 

15. Intemperance or disobedience to the above 
rules will not be tolerated. 

Preventing Waste in the Paint Shop. — It will 
pay to have a man in the paint shop for mixing all 
the paint. I have seen several men mixing paint in 
a shop, each for himself, and this means lack of sys- 
tem and great waste of time and material. Have a 
book of formulas, for mixing every kind of paint or 
color, tint, etc. This will save time in making up 
a batch of any particular color. It pays to buy color 
in press-top cans, and have a press-top machine, 
costing about $1.25. The principal pigments at least 
should be bought in press-top cans. Of waste in 
brushes the subject has been well presented under 
the head of brushes. Have a boy whose duty it is to 
clean the paint pots, keep the shop clean and in 
order, and to do such other little tricks as may be 



THE PAINTER'S ESTIMATOR 81 

required. In this way the time of a man may be 
saved. 

Every paint shop should have posted up a set of 
rules, which should be obeyed. Cans should be kept 
clean, and when not in use placed on shelves. Cloths 
should be folded and put away when not in use. 
Ladders should be hung- up, according to size. Have 
a barrel for keeping all paint skins in. Work these 
skins up into a paint. Number every pot, brush, lad- 
der, etc., and a record kept of same. When a man 
goes out on a job make out a blank, showing what 
he took with him, charging same to man in charge 
of job. Hold him responsible for same until job is 
done and all articles, material not used, etc., are re- 
turned to shop. Workmen will be more careful and 
not so wasteful if held to strict account for every- 
thing they take out. When a brush is worn down 
to a stub, let it be handed in and the man credited 
with it. Don't let men stand around in the morning, 
waiting for material. Have everything on the job 
the day before or in the morning before the men go 
to work. Give instructions to the men the night 
before. When done with one job, instruct the men 
so that they can go right to the next job without 
loss of time. 

System in the Paint Business. — Much has been 
written and said upon this topic, of late years, for 
painters realize more than ever that if they are to 
make any money out of the business thev must con- 
duct it strictly upon business principles and accord- 
ing to modern business methods. This means sys- 
tem. Win and hold your trade by honest dealings. 
But be very careful about the contracts you make. 
Have a complete set of specifications for the work. 
Trust nothing to the word of the party you are to 
work for. Have it all down in black and white. If 



82 THE PAINTER'S ESTIMATOR 

you find yourself standing* to lose on a contract, still 
do it right. 

System begins with the proprietor himself. He 
must set a good example to his men. Here is a good 
division of the master's time: From 6.15 A. M. to 
7 A. M., get the men out. From 7 to 8 see about 
the color mixing for the next man in during the 
clay; do not keep him waiting. From 8 to 10 look 
after the men and jobs. From 10 to n, new busi- 
ness. From 11 to 12, in the store. From 1 to 3 
P. M., look after the men. From 3 to 4.30, new 
business. From 4.30 to 6, in the store and shop, get 
reports from the men and give orders for the follow- 
ing morning. The foregoing routine is given by a 
master painter as his own. He adds that of course 
you will have to deviate from this set programme 
somewhat at times, but not the store time, for you 
will find that your store men will make plenty of 
appointments for you for these hours (11 to \2 and 
4.30 to 6). You cannot afford to disappoint here, 
so be sure to be at the store at set hours. 

The best and best paying shops insist upon the 
personal neatness of their men, and upon good con- 
duct. Be neat in work and in everything. It pays, 
and is particularly essential when doing business with 
particular people. Have cloths for covering furni- 
ture, floors, etc. If you should happen to damage or 
spoil anything, the damages claimed would not be 
small. Besides which carelessness hurts your busi- 
ness with moneyed clients. 

A master should be indeed master of his trade. 
And he must also be a good business man. Keep 
track of the cost of doing each and every job, big 
or little. Employ good foremen. The right man 
will earn his pay and more. He should be a good 
workman, quick to see and decide things, and able 



THE PAINTER'S ESTIMATOR 83 

to size up men under him. This will enable him to 
put the right man in the right place. Carnegie s; 
this made him rich. 

Give the men 15 minutes Saturday afternoon for 
cleaning up things, for inspection. Give a prize each 
month to the man who keeps his working clothes 
and tools, etc., in the best condition. Visit the job 
at least once a day. This will show your client that 
you are personally interested in the work, and at the 
same time the men will understand that you are 
keeping tab on them and their work. 

Keep a truck book, in which at the completion of 
a job a record can be made by the foreman of all 
ladders, trestles, planks, paint, etc., left at the job. 
Have everything hunted up and placed where the 
truck man can get them when he calls for them. 
Have a man to go over the building before the close 
of day and gather up any oily rags or waste, and 
place same in a covered iron pail. 

It is difficult to get good men, but you can replace 
undesirable men gradually, and in time get a force 
of good men. Pay top price and get the best pos- 
sible men, and appreciate such men properly by kind- 
ness and fair dealing. Encourage them to save 
money and to live clean lives. Set the example in 
this direction. Permit no profane or vulgar talk, 
nor tobacco smoking, on the job. Discharge a man 
for frequenting saloons. Have your rules, and en- 
force them, even to the discharge of the best man 
you have. 

Pay the men promptly, whether it is Monday 
morning or Saturday evening pay-day. This is very 
important, because men will hold you in higher re- 
spect when they know that you pay regularly, and 
pay the highest rates. Otherwise they will look 
upon you as poor and unreliable. 



84 THE PAINTER'S ESTIMATOR 

Never lend any tools to a workman. He has a 
little job to do at home, or for the boarding missus. 
Let him buy his outfit, let him get it elsewhere. Pay 
him no money between pay-days. Allow no loung- 
ing around shop or office, unless under waiting or- 
ders, or with permission from foreman or boss. 

BUSINESS CORRESPONDENCE 

No matter how small a business you may be do- 
ing, use only the finest of printed stationery. This 
will impress customers favorably, will give them the 
impression that you are a good workman as well as 
business man, and make it appear that you are doing 
a rather prosperous trade. But this has been dwelt 
upon in another part of this work. My aim here is 
to give a few suggestions regarding the matter of 
correspondence. Answer all letters promptly, by 
next mail if possible. If the party telephones, reply 
at once; for you can not afiford to be without a tele- 
phone in your shop or house. 

Be courteous in your letters. Never say a sting- 
ing thing, no matter how great the provocation. 
Keep sweet. It pays. If a customer writes as 
though very mad, reply in the kindliest terms pos- 
sible, to soothe him. If he is a chronic kicker, hard 
to get along with, but has a lot of work worth keep- 
ing, act as if he was amiable. If his work does not 
amount to much, cast him off, but do it courteously. 
It is a personal rule with me to sever diplomatic re- 
lations with disagreeable persons. 

A letter is not as good as a personal visit, if there 
is any dispute about work or bill, or what not. In 
fact, a letter is only to be used when the only con- 
venient means for communicating with a party. 



THE PAINTER'S ESTIMATOR 85 

When you send in a bill for the first time, ask if 
the work done was perfectly satisfactory, and if not, 
express regret and a desire to rectify the matter. 
This matter of asking about the job when done is 
highly important, because it puts the customer on 
record if he replies. 

Always keep a copy of your letters, for possible fu- 
ture use. Keep all letters received in a file book. 
Whether you write with pen or machine, it is easy to 
have a duplicate carbon copy of letters. There is a 
specially prepared carbon paper for copying pen writ- 
ten letters. 

Never send a postal card in place of a letter. Of 
course there are times when the humble postal may 
be used, but for correspondence it pays to spend an- 
other cent and use the letter form. 

If the goods you have ordered prove, upon arrival, 
to be unsatisfactory, at once notify the sender, in 
plain business terms, avoiding anything like feeling. 
We are all human. All liable to make mistakes. 
Above all, never write a letter while hot ; wait until 
cool. Or if you must write while hot, to relieve 
your mind, write, make it a stinger, — then tear it up. 
In a few hours you will be in a better condition for 
writing the letter. 

Xever write with a lead pencil. Don't scrawl. Use 
a good pen and good ink. Never send a stamped or 
unstamped envelope where you ask for a reply. It 
is only proper to send a stamp when the reply you 
wish is entirely of interest to yourself. When you 
fold the letter sheet, don't make the corners come 
square, but let the upper half-sheet be a little shorter 
than the under one, then neatly double again, so that 
it will easily go into the envelope. Use regular busi- 
ness envelopes, white preferred, and the same of the 
letter sheet. Place stamp in upper right-hand cor- 



86 THE PAINTER'S ESTIMATOR 

ner, head up, not just any way. Avoid flashy print- 
ing. Be plain. 

FINAL OBSERVATIONS 

You are entitled to a weekly stipend, just as much 
as any man in your employ. Set some price for your 
services that you can take on pay-day, and have it a 
part of your pay-roll. At the end of the year, or bet- 
ter still, every six months, find out the volume of 
business done and the total expense and you can 
easily find the percentage of expense that is charge- 
able to every contract before you can know your 
profit. Have time and stock sheets printed and 
everything charged on them that is taken to the job. 
From the stock and time sheets you can transfer to 
a book kept for that purpose all labor and material 
that has been used on the job ; add your percentage 
of expenses, and if you have anything left you can 
see at a glance just what your profit is. You will 
also find that this will be a good efficiency record, 
and that some foremen will do a piece of work in 
less time than others, and are therefore more profit- 
able to you. It is better to make out your specifica- 
tions in duplicate, and if you are successful in getting 
the contract place on the back of your copy all of the 
figures that you made for the work. When the work 
is done, file your cost sheet with your copy and you 
have a record of the contract that you can turn to 
at any time. If you are called upon at any time to 
estimate again on the same work, and are busy, you 
have all the data before you to work with. If you 
did not come out even the last time you can figure 
to make a profit this time. 

The method of charging is of great importance. 
I will mention one way which I think is good. Have 



THE PAINTERS ESTIMATOR 87 

a strip list of all the men in your employ; carefully 
go over the list the last thing each day. After a time 
you can readily tell where every man has been work- 
ing. This, in addition to the time kept by the dif- 
ferent foremen and handed in on a slip with then 
own time-sheet on the morning of pay day. Also, 
each morning let the book-keeper take a position 
where he can see every man go out, and make a note 
of all stock to be charged. If this is done thorough- 
ly there will not be many mistakes made. I have in 
mind a master painter whose specialty is new work, 
and he knows just what has been spent on every job 
any time he asks for it. When the architect wants 
to know 7 just what per cent, is done, by consulting his 
records he can tell at once. I care not how much you 
know about the practical side of painting, or how 
well educated you may be in the technical depart- 
ments that go with the trade, if you do not keep 
track of the financial end of your business and have 
some system whereby you can keep tabs on your in- 
dividual account, you will find that you are in the 
painting business for the fun of being boss. 

One of the most essential things for the master 
painter to consider is how to get business. No mat- 
ter how much system he has or how much he knows 
about painting, he can make no profit unless he has 
the work to do. There are various ways of getting 
business, and one of the best is by advertising. There 
■ are as many ways of advertising as there are adver- 
tising agencies. The best way that I have found is 
the so-called unit system. Keep a mailing list and 
send to each one something every now and then, 
but keep everlastingly at it, especially if you do not 
have them on your books as a customer. By so do- 
ing you will land some of them after a while. Noth- 
ing attracts a person so much as persistence, and if 



88 THE PAINTERS ESTIMATOR 

you keep at it they will begin to sit up and take 
notice after a while. 

I will not attempt to go into details on this sub- 
ject, but advertising does not necessarily mean news- 
paper or program advertisements, nor circular or 
similar forms, but the fundamental principle of ad- 
vertising is to seek acquaintance with prospective 
customers, and after that is partly or wholly accom- 
plished to govern oneself by the motto, "Lest they 
forget." 

Finally, however much you systematize your busi- 
ness, never allow a system to deteriorate into red 
tape. A system should always tend to simplify busi- 
ness practices without endangering their security. It 
should always impress those who are brought into 
contact with it of the firmness, justness, and pro- 
gressiveness of all its demands. 

There was a day when a man's business reputation 
rested wholly on his knowledge of his trade, and 
whether he could read or write it mattered little. 
To-day the customer demands of us not only the 
mastership of our trade, but our strict compliance to 
the usages and practices of business principles. 

COVERING CAPACITY 

Liquid Bronze. — The spreading capacity of any 
liquid must depend on the thinness of the fluid, and 
hence a bronze paint thinned with turpentine or ben- 
zine, and containing also some varnish, as a binder, 
will cover more surface than one mixed with banana 
liquid. The former will cover about 800 square feet, 
while the latter will cover about 100 square feet less. 
This for an ordinary smooth surface. 

Bronze Powder. — One ounce of bronze powder 
will cover about 25 square feet of average surface, 
one that is not absorptive. 



THE PAINTER'S ESTIMATOR 89 

White Lead Paint. — To ascertain the amount of 
such paint required to cover a given surface, on 
wood, divide the number of square feet by 200, which 
will give the number of gallons required for two-coat 
work. The usual estimate for ready-mixed paint is 
that a gallon will cover about 500 square feet, aver- 
age surface on wood or smooth metal, one coat. 

To ascertain the number of pounds of white lead 
in oil, as it is in the keg, before thinning, required to 
cover a certain area of square feet, divide the area 
by 18, which will give the amount of lead required 
for doing a three-coat job. 

It should be borne in mind that all estimates are 
simply approximate, surface conditions and thinning 
of paint entering into the problem. 

Painting Over Cement. — A master painter did 
painting over cement plaster, over hollow tile walls, 
interior, and kept a careful record of the amount of 
material required, finding that the same used per 
coat was as follows : 

1st Coat. 2d Coat. $d Coat. Total. 

Lbs. Lbs. Lbs. Lbs. 

Ocher 299.6 66.0 .... 365.6 

Le ad 599.5 584.5 602.5 1,786.5 

Oil 274.1 60.0 40.3 374.4 

Turps 60.0 60.5 J20.5 

Drier 4.8 1.5 1.4 y.j 

Color 7.0 22.^ 29.3 

Totals ....1,178.0 779-0 641.5 2,684.0 

Gallons 64.5 34.0 29.7 128.2 

Weight per gal. 18.25 23.0 24.5 .... 

Walls plastered over concrete — First coat, 328.5 square feet ; 

second coat, 552.1 square feet; third coat, 664 square feet 

covered per gallon. 
Walls plastered over hollow tiles — First coat, 240.9 square 

feet; second coat, 501.4 square feet; third coat, 644.3 

square feet covered per gallon. 
Varnish — First coat, 43.75 gallons on walls and ceiling. 



90 THE PAINTER'S ESTIMATOR 

Some turpentine was used on the second coat, but 
not on the first coat. 

Covering Capacity of Fillers. — How much 
surface will liquid filler cover? I should say that, 
taking an ordinary quality of liquid filler, reduced to* 
the average, a pint will cover eight square yards, one 
coat; or one gallon to 64 square yards of average 
surface. At $1.50 per gallon, the cost per square 
yard would be practically 2 1/3 cents. 

Painting Bridge Work. — A contractor made the 
following estimate from a six-span bridge he paint- 
ed. Getting the area of the work he made a very 
careful estimate : 

Red lead 0.4 lbs. 

Lampblack in oil 0.0133 lbs. 

Boiled linseed oil 0.0233 gals. Materials, 

Japan . 0.0033 gals. $.0458 per 

Turpentine 0.0013 gals. sq. yd. 

Brushes 0.45 cts. 

Labor, $.0788 per sq. yd. 

Each span was 54 feet, and two coats of red lead 
paint were applied. Each deck plate girder took 600 
lbs. red lead, 20 lbs. lampblack in oil, 50 gals, boiled 
linseed oil, 5 gals, japan, 2 gals, turpentine, and 
$118.30 for labor, equalling $.5775 per lineal foot or 
088c. per lb. 

A prominent firm of contractors give the follow- 
ing estimate for structural iron work: For heavy 
railroad bridge work they estimate that .40 of a gal- 
lon will do two coats, arriving at the estimate in this 
way: The first coat requires .24 of a gallon, and the 
second coat .16 of a gallon, making in all .40 of a 
gallon to a ton. For light highway bridges they fig- 
ure that it takes .70 of a gallon for two coats, that is, 
.40 for the first coat, and .30 for the second coat, 
amounting to .70 for the two coats. They figure to 



THE PAINTER'S ESTIMATOR 91 

paint a heavy railroad bridge three coats requires 
approximately .50 of a gallon — .24 for the first coat, 
.16 for the second, and .12 for the third coat. For 
light highway bridges they figure that it will require 
.80 of a gallon for three coats, as follows : .35 for the 
first coat, .25 for the second coat, and .20 for the 
third coat. As an illustration of the above table, 
take a light structure containing 600 tons of metal 
to be painted with three coats. It requires .80 of a 
gallon to coat each ton of this iron three coats. 
Therefore, 600 tons times .80 gallons equals 480 gal- 
lons for three coats. The above figures are made in 
connection with the use of Dixon's Silica-Graphite 
Paint, or a paint which will cover an equal amount 
of surface, and are approximate. They are, however, 
close enough to enable us to figure accurately to a 
reasonable degree. 

Gasoline. — It is rather difficult to estimate what 
amount of gasoline will be required for burning off 
old paint, etc., much depending on the kind of torch 
used, also on the workman, and character of the job. 
We might make an approximate estimate of one 
gallon for 600 square feet of old paint surface. But 
the estimate is mostly a guess. 

Paint. — Paint varies so much in composition, 
both as regards constituents and thinning, that it is 
hard to estimate closely. A gallon of average paint 
may cover 300 square feet of average surface, two 
coats. There is a great difference in the covering 
capacity of different pigments, and this must be 
taken into account. See under head of White Lead 
Paint. 



FINIS 



NOV 18 W i 






One copy del. to Cat. Div. 



NOV 



w 



